I’m currently writing and illustrating the third part of my Kokoro triology called Aeon Rising, with a huge focus on Atlantis, Mu and the invasion of Sophia Earth within this story. The project is in its early stages with much to do, but I am really excited about the way the book is unfolding. I am not giving too much away at this stage apart from the fact the ‘eagles’ play a huge role in this narrative, hence the recent image of Altair (below).
Altair (Aquilla) Jupiter
I’ve been researching Jupiter’s role in the so called ‘Clash of the Titans’ (as recorded in classical myth) and I’m building these concepts into the new narrative. Gnostic myth and the work of Immanuel Velikovsky is also inspiring me too. The book Worlds in Collision is a great read.
Jupiter or Jove was said to be the king of the gods and the god of ’sky’ and thunder in myth. Jupiter was also the chief deity of Roman state religion throughout the Republican and Imperial eras, until Christianity became the dominant religion of the Empire. It is Jupiter (with Saturn in the background) that presides over all Roman religion and sacrifice to the gods. Jupiter (or Zeus in Greek Myth) depicted as the Eagle (the sovereign ‘bird of birds’) clutching the Thunderbolt is another symbol found in the ‘esoteric’ symbols of empires from Rome to the Nazis, and of course the Eagle standard used by Rome through to modern empires can be found decorated into the pulpits of Christendom.
Jupiter is/was the god of the New World Order, a ‘good Sun’ and son to Saturn (Cronos). Both Jupiter and Saturn are massively connected, not least physically in terms of their size in our Solar system, but as ‘forces’, or vibrations that play a part in the ‘Illusion we call life on Earth’. My new project weaves together this connection, along with the lions of Regulus (Leo) and the Orion constellation, with much more besides. Gnostic teachings interpret Jupiter as a ‘good force’ and so do I in my narrative.
Statues of Jupiter as the Eagle can be seen with the child Ganymede (one of its Moons) at stately homes all over Britain and relate to the Jupiter and the Age of Aquarius.
The Romans regarded Jupiter as the equivalent of the Greek Zeus, and in Roman art, the myths and iconography of Zeus are adapted under the name Iuppiter. In the Greek-influenced tradition, Jupiter was the brother of Neptune and Pluto. Each presided over one of the three realms of the universe: sky, the waters, and the underworld. From this perspective the sky, the primordial waters (oceans) and the inner Earth and Underworld, where all connected. They were the place of ‘origins’ the home of the gods and the so-called planets or wanderers. Saturn of course has its own symbolism which I have covered many times in other blogs.
My work in recent months has seen me consider the myths of the Mahabharata or Mahābhārata, one of the two major Sanskrit epics of ancient India. And I am also focusing on Ancient Egypt along with the Epic Gilgamesh as a write my fictional take on these myths and legends. Not that I am comparing my projects to the likes of Tolkien’s work, but as an image-maker, story teller, I am fascinated by the power of the ‘myth’ in terms of it’s potential to ‘transform our perception’ of history. As Tolkien wrote in his book [about Saturn] Lord of the Rings; “And some things that should not have been forgotten were lost. History became legend. Legend became myth. And for two and a half thousand years, the ring passed out of all knowledge.” ― Galadriel in The Lord of the Rings: The Fellowship of the Ring.
Of course Tolkien used Eagle myths within his books, attributed to Gandalf and the connections between Vishnu and the eagle god Garuda as found in both Hindu and Buddhist mythology (above). My version of these combined forces appear in the Third book of Kokoro as the ‘Eagles of Uthorna’ (see below) and how they can appear to have an etheral body (aura) of an eagle. The eagles themselves came out of the body of Urza (Jupiter) in my narrative. As I write in the forth coming book;
“To the ancients, Aquila was also known as the ‘royal eagle’ of the young Sun Urza, also known as Jupiter by the priestesses of Sophia. It was said that Aquila’s talons carried mighty thunderbolts that could change worlds. The Eagle people were the direct descendants and the personification of the ‘electric thunder beings’ that always signalled changes in the solar tree (Solar System) if they were forced to fly. Imagine a predator appearing at the foot of the trunk of a great tree and as it stalked the tree, circled it, a great noise rose out of the branches above in the form of thousands of birds moving their wings in unison has they fled the predator below; such was the ‘sound and energy’ of the mighty eagle Altair and his warriors when they took to the heavens above the Solar Tree”.
While writing and researching for the narrative and characters in Aeon Rising, I am also finding intriguing correlations between what I often ‘perceive through my dreams’ and visions to be pivotal sources in providing good historical, archaeological information for the book. In a recent dream I was given the name Tanis or (San El-Hagar) as a source for the ‘ancient city location’ of a pre Atlantean temple. Much of my narrative in this new book is woven around the priests’ of Manu, the lion panthera leo priests and the keepers of the main temples of Atlan (Atlantis) and Ammon (North Western Lemuria). Tanis has an ancient temple also dedicated to Amun (Amon Ra) the Sun god. But which sun? Along with Montu, the (eagle) falcon-god of war, Amun was a main focus in the temples of ancient Egypt.
Much of my reference material comes from looking closely at the myths, deities and geographic locations connected to the ancient (‘pre-historic’) world. The connections to an ancient order of Lion Priests’ and Orion, Saturn and Leo is becoming clear to me as I write the book. So are the battles between ‘invading forces’ and lions’, eagles’ (men) and other creatures that are found in so much ancient art. Not least in the ancient Sumerian religion, and later in Akkadian (Assyrian and Babylonian), Hittite, Canaanite and other Mesopotamian clay and stone tablets (below).
I go into great detail about the types of forces that populate my stories in my bestiaryLions & Velons and I am literally creating an hierarchy and lineage of characters that can be seen to enhance the ‘world myths’ that already exist.
As always the lions’ feature in this story and so do the ‘lions of Orion’, Saturn and Leo. Note the references to Saturn and the Lion/Griffin in the coins and tablets found in Greece, Tyre, Lebanon and the Mediterranean (above). As I explain in the new book;
“An internal war between the Lions of Regal, caused by the Killipoth had turned some of these mighty beings into ambassadors for the darkness. As the war spread across the heavens the Lion priests or the Rezura of Orion (who were magicians of the highest order) were made to choose sides. The orders of Rezura split into two, the Panthera leo and the Jezura, the latter formed an alliance with the serpent Naga. The very nature of Orion’s part in the creation of ‘reality and duality’ was witnessed in the two opposing sides of the same force. The lions of Orion fought each other now and those of Panthera that wanted peace used the light of Manu and sought council with their ancestors on Regulus. The Jezura and Rezaru became willing servants of the darkness aiding in the creation of the Fourth Age on Earth.”
The Priests of Manu
The new book depicts the Priests of Manu as the original ‘Light keepers’ of Sophia. Only three priests existed at anyone time on the Sophia. These Lion Priests were said to come from Regulus (in Leo) and were placed on Sophia (in the Temples of Atlan in Atlantis) to hold the light of the Aeons at sacred points along the Earth’s surface. The Priests of Manu were the ‘temple builders’ and ‘protectors’ of the ‘sacred sites’ where the ‘light of Durga’ travelled through what became known as ‘energy lines’ or dragon lines. The Priests of Manu were the founders of what became Gnosticism that emerged after the ‘Great Flood’. They emerged through the last of their kin, Ariel in what is now kown as Lower Egypt.
The whole of the Lower Egypt location (the Nile Delta and where it meets the Mediterranean) where Tanis is located has become more intruiging as I have been writing this book. Not least through the fasinating work of Danny Wilten and his correspondences bewteen the Orion Nebula and the Nile Delta region, as above so below… His You tube channel is worth a view.
So, as I said above, I don’t intend to give too much away at this stage, but to merely interest those that love my images and books.
The book Aeon Risingshould be avialble at the end of 2017, into 2018.
Neil Hague talks about his art and the deeper symbolism behind some of his work. In this final part he talks about the power of the imagination, ‘lion consciousness’, religion, energy shifts and where his ideas come from and much more besides
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 the dreams and visions and how the imagination shapes reality.
I speak from my own perspective of course, but isn’t Christmas a bore these days? Spending time with family and loved ones is wonderful for most, but sanctioning it as an official holiday has become tedious, draining and for many that have ‘woken up’ to the ‘reality of ‘reality’, just another focus for an ‘energy theft’ that has no bearing on the real plight of humanity today. Now before anyone says ‘Ba humbug’ (which is a word incidentally that means to act in a ‘deceptive’ or ‘dishonest’ way), I will say that there is a meaningful connection to the ‘introspection’ at this ‘time of year’. The winter period brings ‘clarity of focus’ for those that can look within. Being creative is important too as winter kicks in, but the modern day version of what was ancient Saturnalia is nothing more than a ‘massive energy grab’ (our human energy) just as it always was.
What’s that old saying, ‘when in Rome, do as the Romans do? We do and Saturnalia is now officially here once again.
The ‘Time’ when Ancient Rome Comes to Town
On one level, Saturnalia was a ’festival of light’ in Rome, leading through to the Winter Solstice (21st December), signified through an abundant presence of candles (fairy-lights) and pine trees. All of which are meant to be symbols of our quest for ‘knowledge and truth’ (light) at the darker end of the year. The other aspect of Saturnalia is more about the ‘giving and ‘taking’ of energy. However, when you look around our modern day 21st century ‘Saturnalia fest’, I think its safe to say that the ‘knowledge and truth’ has taken more of a back seat. The whole period of ‘time’ called Christmas can be an ‘unnecessary burden’ for too many and it also focuses our energy on the ‘polarisation’ of those that ‘have’ and those that ‘don’t have’. It’s magnified at this time of year, especially when we see the rich, the famous and the ‘gods of our time’ (celebrities) revelling in Saturnalia. The amount of presents being bought in some homes and the over indulgence by those that have discovered their ‘credit cards power’ of no return is beyond madness in my view. As Asterius wrtites in Oratio 4: Adversus Kalendarum Festum;
“This festival teaches even the little children, artless and simple, to be greedy, and accustoms them to go from house to house and to offer novel gifts, fruits covered with silver tinsel. For these they receive, in return, gifts double their value, and thus the tender minds of the young begin to be impressed with that which is commercial and sordid.”
If anything, Christmas (Saturnalia) can bring heightened emotions, stress, arguments, loneliness, drunkenness, suicide and the overpowering need to ‘keep on with the programme’ called Christmas. ‘Boxing Day’ in the UK can take on a very literal meaning for some. I know Christmas also brings laughter, love and hapiness too, which is why it has ‘two sides’. Christmas shopping, Black Friday’s, the sales, buying things and maxing up debt has become the norm for people that have ‘bought into’ the vibe of modern Saturnalia. When I was a kid people used to stock up on food at Christmas like there was going to be a war? Bread was frozen in quanties across homes all over Britain in the 80’s as though there was going to be a famine (the shops really did close for days back then). To understand the Christmas ‘vibe’ we have to go back in time to ancient Rome.
Inner Light – Outer light
Saturnalia is/was the Roman festival of the ‘renewal of light’ and the coming of the ‘new year’, celebrated as the Dies Natalis Solis Invicti, or the birthday of the ’Unconquerable Sun’. The date for this event was the 23rd of December, but the roots of this go further back into the ancient world and have more meaning in the attachment to Saturn (the Old Sun), and not necessarily the Sun. Of course the birth of the new ‘Sun (a Son) god was interchangeable with the ‘Son of God’ (born on the 25th of the month), not least thanks to Emperor Constantine… The rest is fable disguised as history. In 4th Century Christian leaders succeeded in converting to Christianity large numbers of Roman pagans by promising them that they could continue to celebrate the Saturnalia as Christians. The problem was that there is nothing very ‘Christian’ as such, about Saturnalia. The Jewish festival of Hanukkah (with its 9 to 8 candles) is another Saturn based focus at the same time of year.
Saturnius Mons – Lord of the Golden Age
The oldest Roman religious calendars, which were thought to have been established by the legendary founder of Rome, Romulus and his successor Numa Pompilius, marked Saturnalia (Saturnius Mons) as a legal holiday in December. The 19th of December marked the dedication anniversary (dies natalis) of the Temple to Saturn in the Roman Forum in 497 BC (see below). Julius Caesar had the calendar reformed because it had fallen out of synchronization with the solar year, two days were added to the month, and Saturnalia then fell on 17th December, through to the 24th of December – Candle-mass Eve.
In Roman mythology, Saturn was an agricultural deity who was said to have reigned over the world in the Golden Age, (most likely a pre Atlantis world), when humans enjoyed the spontaneous ‘bounty of the earth’ without ‘labor’ and in a ‘state of innocence’. Any chance of that Golden Age now would be fine thing? Saturn was the first god of the Capitol, known since the most ancient times as Saturnius Mons, and ‘he’ was seen as a god of generation, dissolution, plenty, wealth, agriculture, periodic renewal, law and liberation. The death of a Sun and the ‘birth of a Sun’ (its light) are embroiled in the symbolism of Saturnalia. So are the notion of ‘old and young’, ‘Santa and children’ and the gifts given through life itself. Life is ‘given to death’, so that ‘death can live’. The BBC’s Children’s drama The Box of Delights in the 1980’s is another fine example of the symbolism evoked through Saturnalia. The ‘box’ or cube is another symbol of Saturn. See the images below.
In many ancient beliefs, the Sun (Saturnis Mons) was used as a marker for when the position of the Sun (as seen from Earth) would change simply to ‘mark’ lighter nights, darker days (solstices) and it is all based on the over arching mechanism of marking ‘time’. Who was the Lord of time? The old bearded bloke above, I will come back to ‘Time’ in a bit.
In Rome the revelries of Saturnalia were supposed to reflect the ’conditions of that lost mythical age’, not all of them desirable mind you, as much of it was connected to bestiality, human sacrifice and Satanic worship. In ancient Rome priests inside the ancient temple performed the rituals of Saturnalia, while homes were decorated with cyprus and pine trees, covered in candles. Health and Safety didn’t exist back then. Trees and the star at its top are all symbols of that bygone ‘golden era’ and quite possibly a memory of the ‘old Sun Saturn’ as it was seen from Earth. For more information see an excellent book called The Saturn Myth by David Talbot. The star on the tree ‘symbolism’ becomes very clear through understanding how the ancients saw Saturn and other planets in the skies.
Today these symbols and rituals are ‘continued’ through the focus of ‘mass’ media, ‘mass consumption’ and the ‘ethereal effect’ of the ‘lack of light’ that we ‘take in’ at Saturnalia. It has become Christmass hypnosis. And the official religions of ancient Rome have now become the religions of ‘buying things’. Shopping malls are the cathedrals decorated to the hilt with neon lights. Even as far away as Australia, where if we went back several thousands years, the Aboriginal people would not have heard of such ceremonies and pagan rituals. It’s all a ‘programme’ that has spread ‘world wide’ with good reason. Saturn’s influence over humanity is through ‘hypnosis and the connection to what we call ‘time’ and the ‘unseen’.
The Hunt, Pan & the Gingerbread Man
As I have already said, Ancient Rome was the epicentre of Saturnalia. The cities architectural symbols, not least the ‘phallic symbol’ or Obelisk relating to the ‘death’ and ‘resurrection’ of the Egyptian god Osiris (Orion) can be found placed in the Capitols of Europe. They are there to invoke the ‘sexual’ masculine energy, or the ‘randy old goat’ syndrome also known as the god Pan. Old Pan is connected to the myths associated with the Lord of Capricorn (Sex magic) and the Lord of Aquarius (Electronic Communications) through Mercury.
The worship of Pan began in Arcadia (Greece), which was always the principal seat of his worship. Arcadia was a district of mountain people, culturally separated from other Greeks. The hunt, the Shepard, the cave and the woods where all abodes of Pan. Hermes (Mercury) was considered the great grandfather of Pan. Symbolically Mercury goes ‘between’ worlds and is the messenger of what we the Romans called the gods. These gods are ‘personified energetic realms’ and it has become clear to me that the imagery and symbols associated with ‘the gods’ are portals into that ‘energetic field’. Hermes, as the father/grandfather of Pan connects Pan (the goat) with the titan Saturn in Capricorn. The Gävle Goat (Swedish: Gävlebocken) is a traditional Christmas display erected annually at Slottstorget in central Gävle, Sweden (below). It is a giant version of a traditional Swedish Yule Goat figure (Pan) made of straw, which often is attacked by arsonists during Saturnalia.
Saturnalia is also a time for family visits, trips and all communication (electrical or otherwise) especially over the festival period. Mercury is currently retrograde this December 2016, so watch out!
Catch me if you can?
Saturnalia as recorded by the Greek writer poet and historian Lucian (in his dialogue entitled Saturnalia) observes the festivals in his time. Lucian mentions human sacrifice, ‘widespread intoxication’, ‘going from house to house while singing naked’, ‘violation’ and other ‘sexual activities’. He also mentions consuming human-shaped biscuits (still produced in some English and most German bakeries during the Christmas season as the gingerbread man). “You can’t catch me!” takes on another meaning when you consider the deeper meanings behind Saturnalia and the horrors some might have suffered at that time. There is another side to Christmas that invokes both the ‘good and the bad’, where children become the focus for this tussle. Chitty Chitty Bang Bang and Hansel and Gretel (with the ginger bread house) come to mind! I’ll come to Krampus too shortly.
We Three Kings from Orion are …
In previous blogs I have pointed out the connection to three belt stars of Orion (Alnitak, Alnilam and Mintaka) and the pyramids of Giza – not to mention the Hopi’s Three Mesas of Arizona. Many myths are allegories of the path of the sun through the signs of the zodiac, and the famous axiom ‘As above and so below’ is so true. The word ‘Orient’ in the Christmas carol We Three Kings from Orient Are’ should be replaced by ‘Orion’. The three Magi who searched for the newly born Christ are symbolic of the three stars in the hunter’s belt in the constellation of Orion.
Egyptians also knew Orion as ‘the father of the ‘First Time’ of Osiris (as Adam/Ptah) and the Egyptian trinity also connect to Orion. The Three Kings represent the three divine aspects of Will, Love and Intelligence in some sources. The name ‘Orion’ literally means ‘the breaking forth of light’ and therefore symbolizes the ‘place of light’. I feel that ‘place’ is where Saturn gets its ‘interstellar instructions’. In some South American cultures Orion’s Belt is known as ‘Las Tres Marias’ (The Three Marys) in honour of Mary of Nazareth, Mary Magdalene, and Mary of Bethany. One od the first Christmas cards I made was of Mary and Josepth (Isis and Osiris) being visted by an alien loosely based around the song ‘A Spaceman Came Travelling’ by Chris De Burgh.
Born in a Cave
Kronos (Saturn) as I mentioned above was the Sun in the cave and it is said in myth that his mother Rhea carried Kronos ‘the stone’ wrapped in swaddling clothes, as though he were the babe to which she had given birth. The Babe in a manger born among animals (not least the Ass and Ox) in a stable or a cave and wrapped in swaddling clothes was common in many ancient religions. The mother of Kronos in the Hindu myth equivalent was known as Chaya, meaning ‘shadow’. She represented the unconscious, other-worldly, the unseen and the light of the aura. You could see her as the Queen of the fairies (fairy lights). In a small an intriguing book called The Greatness of Saturn, by Dr Robert E Svoboda (below), that covers Eastern Vedic myth, Chaya is represented as ‘material things’, the illusion of the material life and how the shadow allows this ‘fake light’ to be seen for what it is – illusory.
The Gnostics also talk of the ‘light of Christos’ and its penetration of the dark, the shadow world (see my other blogs here)
According to legend, Hermes was also born in a cave on Mount Cyllene in Arcadia (see Pan and Mercury above). Zeus had impregnated Maia at night while all the other gods slept. When Hermes was born at dawn (like the Sun), Maia wrapped him in swaddling clothes. The Roman version of Jesus (before Jesus) Mithras, was also born in a cave, with shepherds in attendance, all on the 25th of December. Mithras was known to his followers as ‘The light of the world,’ or ‘The Good Shepherd,’ and urged his followers to share ritual communion of bread and wine. Mithras’s priests were called ‘Father.’ Add the word ‘Christmas’ after ‘father’ and there you have it.
Krampus (Santa’s Claws) – Sakwa Hu
Krampus, the horned, anthropomorphic folklore figure described as ‘half-goat, half-demon’, is another symbolic deviation of Pan. Santa or Saint Nick in Nordic and Germanic versions can be often seen together. They are two halves of the same symbol.
During the Christmas season, Krampus punishes children, just like the Hopi Kachina Sakwa Hu, who arrives at the winter solstice or Soyal (Soyalang-eu) to do the same? A group of about thirty “official” kachinas, called Mong Kachinas, takes part in five major ceremonies held during this period: Soyalang-eu (Winter Solstice Ceremony) in December, Pamuya in January, when the sun appears to move north again. During Soyal, which lasts nine days of what we call Christmas, sacred rituals are performed in chambers, called kivas, and many ceremonies involving dancing and singing take place; the kachinas may even bring gifts to the children. And the Christian’s think its all about Jesus, you have to laugh really.
Soyal time is when stories are passed down to children from the elders and children are taught pivotal lessons like respecting others. The Hopi believe that everything that will occur during the year is arranged at Soyal (New Year Resolutions as such). Children are also given replicas of the kachinas (dolls), intricately carved and dressed like the dancers, to help them learn about the hundreds of kachina spirits. Sixteen days before the winter solstice, one of the chief kachinas enters the house. He appears as a tired, old man who has just awakened from a deep slumber, teetering and on the verge of losing his balance. Santa is so old he’s loosing it! The Hopi god Masauwu (see my other blogs on Orion) is massively connected to the symbols of Orion, Saturn and Father Time (see below).
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 she (the Hare) was wrapped in goats skin. Of course the ‘hare’ and the ‘Moon’ are symbolically connected in much folklore and the hare also takes on the role of a ‘demiurge’ in some myths. See an interesting book called The Lady of the Hare by John Layard. The constellation of Lepus runs alongside Orion and there is more to know about this connection.
Krampus is also another version of Ba’al Hammon, the Carthaginian god who was regarded as the counterpart of the Roman Saturn and Greek Cronus. Krampus is one of the companions of Saint Nicholas in regions including Austria, Bavaria, Croatia, Czech Republic, Hungary, Slovenia and Northern Italy. The song Santa Claus is Coming to Town is based on the Germanic pagan folk tales of Krampus
He sees you when you’re sleeping’ He knows when you’re a wake He knows if you’ve been bad or good So be good for goodness sake…
The modern figure of Santa Claus (Saint Nicholas, Saint Nick, Father Christmas, Kris Kringle) is derived from the Dutch figure of Sinterklaas, whose name is a dialectal pronunciation of Saint Nicholas, the historical Greek bishop and gift-giver of Myra. During the Christianization of Germanic Europe, this figure may have absorbed elements of the god Odin, who was associated with the Germanic pagan midwinter event of Yule and led the ‘wild hunt’, a ghostly procession through the sky. Of course the hunter Orion is observed clearly in the winter sky from November through to the Winter solstice, along with the constellations of Sirius and Lepus. The winged serpents in the image below infer a Hermes connection to Saturn.
Telling a child that Santa, (who is essentially an old bloke, a stranger with magical powers), who sneaks into your house to leave gifts, in the child’s early years, is creepy enough. But to then say it was all a fib later on, is the power of Ba-humbug; and we have all partaken in this myth making. The creeping around at night while children sleep is harmless to those from loving families, but consider the amount of ‘creeping around’ in orphanages and children homes over the years by figures that are more like Krampus? Saturnalia is a time of year when both the good and the bad are magnified ‘energetically’.
‘Coke’, Magic Mushrooms and Flying Reindeer
In his book Mushrooms and Mankind (The Book Tree, 2003) the late author James Arthur points out that Amanita muscaria mushroom (below), also known as fly agaric, lives throughout the Northern Hemisphere under conifers and birch trees, with which the fungi (which is deep red with white flecks) has a symbiotic relationship. Some say that this explains the practice of the Christmas tree, and the placement of bright red-and-white presents underneath, which look like Amanita mushrooms. Arthur wrote.
“Why do people bring pine trees into their houses at the Winter Solstice, placing brightly coloured (red and white) packages under their boughs, as gifts to show their love for each other…?” he wrote. “It is because, underneath the pine bough is the exact location where one would find this ‘Most Sacred’ substance, the Amanita muscaria, in the wild.”
I would suggest that it has more to do with Saturn’s pole position in that Golden Age mentioned earlier, but there maybe some truth in this across certain cultures.
Reindeer are common in Siberia, and seek out these hallucinogenic fungi. Donald Pfister, a biologist who studies fungi at Harvard University, suggests that Siberian tribesmen who ingested fly agaric may have hallucinated into thinking that reindeer were flying. The use of ‘red and white’ for Christmas and Santa is clearly connected to the Coca Cola imagery and their 20th Century campaign to associate Saturnalia with this drink.
The Time of the King of Saturnalia
The King of Saturn ruled as the ’master of ceremonies’ for the proceedings through Saturnalia. He was appointed by lot, and has been compared to the medieval Lord of Misrule at the Feast of Fools. In England, the Lord of Misrule (known in Scotland as the Abbot of Unreason and in France as the Prince des Sots) was an officer appointed to preside over the Feast of Fools (below).
The Lord of Misrule was generally a peasant or sub-deacon appointed to be in charge of Christmas revelries, which often included drunkenness and ‘wild partying’, in the pagan tradition of Saturnalia. Sunds like every town in the UK to me? The Roman emperor Nero played the role of Saturnalia in his youth. Where as the first emperor Augustus celebrated the ‘Golden Age of Saturn’ it was eventually lost.
Saturnalia and misrule makes a ‘mockery of a world’ in which law was determined by one man and the traditional social and political networks are reduced to the power of the emperor over his subjects. In general terms, Saturnalia was the celebration of the longing for Saturn to reign again, as in ancient times. The donkey or Ass was another symbol of misrule and ‘mockery of law and order’, ‘title and kingship’. In Ancient Egypt Seth, the enemy of Osiris (his brother) had the image of a donkey. That’s why Apuleius in his Golden Ass describes a great metamorphosis, the transformation of Lucius to a donkey and his way back – spiritual evolution towards the human being. Jesus also was said to ride into Jerusalem on a donkey (see below).
In this case donkey represents sexuality, instincts, sensuality, ignorance. A red donkey was said to be one of the dangerous creatures that the soul met in its journey after death – possibly an archon of sorts? The Ass and the Lord of Misrule go together at both Saturnalia (Christmas) and Ostara (Easter).
According to the anthropologist James Frazer in his book The New Golden Bough, he says there was a darker side [and the rest] to the Saturnalia festival. In Durostorum on the Danube (modern Silistra), Roman soldiers would choose a man from among them to be the Lord of Misrule for thirty days. At the end of those thirty days, his throat was cut on the altar of Saturn. Similar origins of the British Lord of Misrule, as a ‘sacrificial king’ (a temporary king, as Frazer puts it) who was later put to death for the benefit of all, have also been recorded. See the movie The Wicker Man starring the late Lord of Misrule himself – Christopher lee (above). I once stood next to Lee at a Euro star waiting area over a decade ago and he seemed a very ‘strange’ man to me.
The sordid and sinister rituals that are hinted at in the Kubrick movie Eye’s Wide Shut also happen at Christmas (see below). Note the Sun (Saturn) Star featuring in the Illuminati-style Elite parties early on in the film. Sex is a big part of Saturnalia and of course it plays a big part in Kubricks film too.
Father Time Magazine
The infamous American Time Magazine, which was created by Henry Luce, a member of Alpha Delta Phi and Skull and Bones secret society, is another example of the subtle symbolism of Saturnalia ‘end of year celebration’. As I have shown, Chronos is usually portrayed as an older, wise man with a long, grey beard, similar to ‘Father Time’. Both the ‘father figure’ aspect can suffice in terms of symbolism, and in other years from ‘time to time, more obvious imagery sums up the connection to Saturn through, death, royalty, the Moon and ‘hidden worlds’ (space).Just look at some of the covers of Time Magazine?
Some of the current English words whose etymological root is khronos/chronos include ‘chronology’, chronometer, chronic, anachronism, and chronicle. The Time Magazine is the Chronicle with its cover of the Person of the Year ‘in December’. No mattter where you look, its ”Saturn everywhere’, especially at Saturnalia.
Donald trump on the latest edition all ‘horned’ like Krampus (Pan) is another ‘Lord of Misrule’ (symbolically speaking) and that makes me wonder how long his rule will be? The Lord of Misrule or King of Saturnalia only rules for a certain period… ‘Time’ is also ‘money’ and the Saturnalia ‘machine’ expects the ‘money to flow’ into the jaws of Saturn (see my image below).
Saturnalia’s Slaves & Masters
The phrase Saturnalia was also a characteristic shout or ’salutation’ of the festival, in Roman times. The ’Yo ho ho’ is connected to this Salutation. Seneca looked forward to the holiday of Saturn, if somewhat tentatively, in a letter to a friend:
“It is now the month of December, when the greatest part of the city is in a bustle. Loose reins are given to public dissipation; everywhere you may hear the sound of great preparations, as if there were some real difference between the days devoted to Saturn and those for transacting business. & Were you here, I would willingly confer with you as to the plan of our conduct; whether we should eve in our usual way, or, to avoid singularity, both take a better supper and throw off the toga.”
Roman Microbius also writes in his work titled Saturnalia.
“Meanwhile the head of the slave household, whose responsibility it was to offer sacrifice to the Penates, to manage the provisions and to direct the activities of the domestic servants, came to tell his master that the household had feasted according to the annual ritual custom. For at this festival, in houses that keep to proper religious usage, they first of all honor the slaves with a dinner prepared as if for the master; and only afterwards is the table set again for the head of the household. So, then, the chief slave came in to announce the time of dinner and to summon the masters to the table.”
That’s your Christmas dinner! I am sure some people feel like a slave when it comes to cooking?
Back then a suckling pig was sacrificed (and still is eaten in large quantities in more Latin, Hispanic countries). The Turkey replaced the ‘pig’ over the centuries, unless you were munching on flesh in Tudor times, you might have a combination of both ‘sown together’ as a ‘cockenthrice’, just one of the many twists of Saturnalia. How lovely!
Roman Saturnalia is best-known for roles reversal and behavioral license, which allowed slaves to act like masters and visa versa. Roman slaves were treated to a banquet of the kind usually enjoyed by their masters. Role-playing was implicit in the Saturnalia’s status reversals, and there are hints of mask-wearing or ’guising’. The Elite families would have loved all that role play, hunting in masks and genrally playing roles reversed? maybe they did and still do? Slaves were set free just for the festivities… So ‘nothing’s changed then?’ See every Bank Holiday too. Who is it that rules over the banking system? Saturn! Who owns the banks? The Elite familes that adore Saturnalia.
Versnel writes in Saturnus and the Saturnalia;
“Gambling and dice-playing, normally prohibited or at least frowned upon, were permitted for all, ’even slaves’. Coins and nuts were the stakes. On the Calendar of Philocalus, the Saturnalia is represented by a man wearing a fur-trimmed coat next to a table with dice, and a caption reading: “Now you have license, slave, to game with your master.” Rampant overeating and drunkenness became the rule, and a sober person the exception.”
Yeah, your allowed to feel free for a week or so, to drink (be merry) and pretend that you’re not a ‘slave to the system’!
Some things change, some things don’t
In his many poems about the Saturnalia, the poet Marcus Valerius Martialis names both expensive and quite cheap gifts, including writing tablets, dice, knucklebones, moneyboxes, combs, toothpicks, a hat, a hunting knife, an axe, various lamps, balls, perfumes, pipes, a pig, a sausage, a parrot, tables, cups, spoons, items of clothing, statues, masks, books, and pets. Writing today he would be mentioning ‘Pound Land’ and ‘unwanted socks’ too! In ancient Rome gifts might be as costly such as a ‘slave’ or ‘exotic animal’, but Martialis suggests that ‘token gifts’ of low intrinsic value inversely measure the high quality of a friendship. You were being judged by the gift you gave? Patrons or ‘bosses’ might pass along a gratuity (sigillaricium) to their poorer clients or dependents to help them buy gifts. A ‘Christmas bonus’ for some, and ‘bugger all’ for others like today? Some emperors were noted for their devoted observance of the Sigillaria (19th December), when small pottery gifts were given. Some say that the giving of Christmas cards came from Sigillaria in Ancient Rome?
I wrote this blog not to focus on the darkness of Saturnalia but to simply say that if people wish to really make a change and want to really ‘vibrate’ to a ‘higher level’, we may just have to ‘come away from the ‘same old rituals’, programmes and polarised views that are tucked away within all of the ‘Christmas razzamatazz’. Symbols, icons, stories and legends are more powerful than we can imagine. We are still in ancient Rome (and Egypt) in so many ways, as these rituals and festivals have been with us since then. I would prefer to focus on ‘introspection’ at this time of year (which is hard when you have small children I know), but whatever you do, make sure you can get out of the ‘Saturn vibe’, even if its just for an hour or two, to contemplate the ‘bigger picture’ beyond the claws of Saturnalia.
Alongside painting new canvases, I’ve been writing, illustrating and putting together a little project for fans of Kokoro & Moon Slayer.
Writing and illustrating the books Kokoro and Moon Slayer has ‘birthed’ a myriad of ‘characters’ for what I see as an ‘Avatar style’ movie and then some! I have a trilogy in my head, big enough for any Starwars plot, with credible connections to our Junk DNA, the stars and beyond. My new book (out in December) is an extension to the glossaries at the end of my previous illustrated books and it introduces a few other characters as a prelude to the third and final part to my narrative (due sometime in early 2018). People who know my work will hopefully love this companion book, as I give more background information to the Lions and Velons and how they oppose each other across the myths and narratives that make up the Kokoro & Moon Slayer ‘Universe’. For more information see the Blurb below.
Thank you to all that love and support my work.
Lions & Velons is a unique mini-dictionary that explores even further the books and narratives illustrated by Neil Hague. It is ‘more than a dictionary’ or bestiary, it is an extraordinary companion to the stories of ‘dualistic forces’ that have battled for eons across many worlds. In this highly original and personal work, Neil gives further insight into the ‘characters and creatures’ that appear in his illustrated books Kokoro and Moon Slayer.
Alphabetically presented, we are taken ‘behind the scenes’ and ‘across a myriad of star systems’ to encounter the different ‘lions and velons’, the ‘opposing forces’ that have battled over Earth since the beginning of time. We are introduced to new characters while familiar ones are embellished further as Neil visually explains the Gnostic myths of Sophia and the demiurge, and how worlds are formed and worlds are ‘possessed’ by the entities called the Velon or Jinn. Like a shaman taking us into ‘otherworldly landscapes’, Lions & Velons illustrates the many gods, goddesses, suns and planets all engulfed in an ‘epic war of the Heavens’.
Through Neil’s unique style of imagery we are introduced in more detail to the ‘Lions of Durga’, the Velon, Lord Marduk, the Priests of Saturn, the Owls Ships of Urza, and the Eagle Warriors of Uthorna and Atlantis. In the spirit of William Blake’s personal myths and books, such as Albion (Four Zoas), through to modern day Science Fiction film and literature, Lions & Velons un-packs the ‘multidimensional’, ‘highly imaginary’ and ‘informative worlds’ of the artist and Illustrator Neil Hague.
I would say that Orion plays a huge role in the shaping of our ‘collective thoughts’, our beliefs and above all the belief in duality through ‘form and energy’. We see the duality in many myths and legends that adorn the ancient world, and of course we see it all the time in the opposites of nature. In the epic legend of Gilgamesh, fighting the Bull of Heaven, we see opposing forces (Orion facing Taurus). Fights between Attis and the Bull, to Perseus and the Minotaur, who meet at the centre of Adriane’s labyrinth (a symbol of the mind), we see the same symbolism. Orion whether holding a club or bow is hunting the beast of nature and this symbolism can be found on Crests, heraldry and other insignias. Interestingly, the first renditions of the saints and opposers of the dragon (George and the Dragon) were hairy men – the woodwose, or ‘green man’.
In other stories we see Orion chasing Pleione, the ‘mother of the Pleiades’, for ‘seven years’ (the seven stars in Taurus Constellation). In other legends Orion chases the Pleiades themselves, and he takes the form of a bear to do so. The myths about Callisto and Artemis (goddess of hunting) include the hunter becoming a bear. In the Hobbit the character called Beorn is a “skin-changer”, who transforms into a bear.
The legends of Bear Butte (Devils Tower) in Wyoming, according to Native American myth, describe the creation of the Butte through the claws of a bear that scratched at a ‘giant rock tree’ as it ‘grew skywards’ to place the ‘seven maiden’s as the seven stars in the sky. Giant tree or not, what is more interesting to me is the notion of humans becoming stars. It works both ways you see, the stars became humanity. Orion is also referred to as a ‘Heavenly Shepherd’ or ‘True Shepherd of Anu’. The Bear refers to Ursa Major as it aligns with the Pleiades. Homer in the Odyssey referred to ‘the Great Bear that men call the Wain, that circles opposite Orion, and never bathes in the sea of the stars. The Book of Job mentions Orion Three times Job 9:9 (“He is the maker of the Bear and Orion”) Job 38:31 (“Can you loosen Orion’s belt?”), and Amos 5:8 (“He who made the Pleiades and Orion”). He refers to the Demiurge of Gnostic teaching.
The constellations of Canis Minor and Canis Major are his dogs, the one in front is called Procyon. They chase Lepus, the hare and sometimes the fox, while Orion tackles Taurus. All of these animals feature hugely in the hunts and symbols of the aristocratical bloodlines.
In alchemical texts, Apollo, Vulcan and Mercury ‘conceive Orion’ (below left) in an allegory of the three-fathered ‘philosophical child’. These three ‘deities’ represent ‘fire, ‘deception’, plague’ on one side, and on the other, they are creativity, the magical arts and ‘perception’. All three collude to forge Orion’s persona as the ‘hunter shepherd’ of the heavens.
The same allegory also hints at the ‘trapezium of Orion’, which I’ll come to shortly. The Devilish Dr John Dee incorporated these planets sigils into his personal seal. The horn of Mercury’s sign will also become obvious.
Scientists now say that Black Holes form and give birth to the ‘holographic nature’ of our Universe. All of our galaxies and star systems are holographs projected from ‘black holes’. These vortexes ‘store information‘ and ‘project’ that information onto the surface of reality – our worlds, our ‘Universe’.
According to astrophysicists (including UQ’s Dr Holger Baumgardt) the Orion Nebula has a black hole at its heart, whose mass is some 200 times the mass of our sun. The mini black hole in the Trapezium of Orion (above), a centre that has given humanity its, focus on the Triangle, the trinity and many other symbols and alignments. It is said to be the force that creates duality, ’cause and effect’, ‘right and left brain function’ and what the Mayan’s called the ‘Fire in the middle’ of the ‘hearth‘. It is the symbol of macrocosm/microcosm for projecting life (and death) on Earth. The alignments of the Great Pyramids and many indigenous mesa’s across the world are a testimony to this understanding. The belt stars (Alnitak, Alnilam,Mintaka) are replicated all over the world through religious symbols. One example, in Puerto Rico, the three stars are known as the ‘Los Tres Reyes Magos’ (Spanish for The three Wise Men). But ‘Magos’ actually means ‘magician’ and therefore more acurate in translation to the ‘magic’ the stars of Orion have over our minds.
Years ago I heard the term ‘Earth Stars’ and remember reading a brilliant book by Chris Street called Earth Stars. From this persepctive, humans are ‘points of light’, projecting (like a holograph) onto the surface of a ‘flat plane’ each human being, the ‘life and death’ of each individual star.
Orion – The Unnatural God with Horns
The Rig Veda refers to the Orion Constellation as Mriga (The Deer), the horned hunter, seen as the classic image of the shaman wearing the antlers. In the ancient world the Hopi talked of ‘unnatural gods’ the ‘rulers of dreams’ (Morpheus in Greek myth), calling them the ‘two horned clan’, or the ‘two horn and one horn societies’ that use ‘power and magic’ to control different Worlds. Orion is also the giant Haokah, celebrated through the dance to the Giant by the Dakota Sioux. The Haokah (below) is universally ‘revered and feared’ among the sioux. He too is another rendition of the hunter Orion, but lets say he’s more than just a hunter. He’s the key that ‘opens the door to the entities’ of Orion.
The American Indians believe in the existence of many Giants (not least the Bigfoot tribes), but Haokah is one of the principal giants. He is the anti-natural god, the teacher of opposites. In summer he feels cold, in winter he suffers from the heat; hot water is cold to him, and the contrary, etc. The Norse god Loki is another version of this deity who sets in motion a trick of all tricks if you look into that myth. ‘CERN-unnos’ is also another version of this ‘hunter of Earth’. Like the horned and antler gods he was the keeper of the door between this reality and the realm that is ‘just beyond the veil’. CERN of course was set up to ‘penetrate the veil’ by a priesthood ‘disguised as scientists’ in Switzerland. Of course we also find Shiva (below middle) at CERN in Geneva, another symbol of Orion.
These crossing points between the stars and the Earth’s solstices on the ecliptic are understood in shamanic traditions to serve as doors to the spirit or underworlds. Just as there are portals that link the Earth and Sun, there appear to be energetic “star gates” that link our Sun to stars such as Orion. Saturn as a Sun also connects to the central stars of the Orion constellation especially at critical points in time and space.
Another version of Orion is Mrigashira meaning “deer head” and Ardra (Arudra) meaning, ‘tear drop’. Both of these nakshatras (Lunar Mansion in Hindu) are associated with the constellation of the great hunter, Orion whose stars have been depicted and described in mythological legends throughout the world. From prehistoric cave paintings in France, to the Neolithic Cernunnos of the ancient Celts in Europe, to Osiris in Egypt, Orion in Greece, Mithras in Rome, and Shiva-Rudra in India, the deer (or bull) hunter is portrayed a shamanic giver of life, a protector but also a hunter.
The Two Horns and the ‘Stars’ of Orion
Hel (Hell) ‘Notre Dame’ was said to be the daughter of Loki with a ‘red and blue face’ or colour combination. So did the Haokah tricksters of the Sioux legends and their connection to Betelgeuse depicted in black and white and etched into the collective mind of the youth as Robert thicke ‘giving it to Miley Virus’ (with horned hair and tongue) several years ago at the MTV Awards. Look also for the ‘red and blue symbolism’ and you will find the horned clan of Orion and the true force behind Saturn’s grip over “Satanists” on Earth. The wealthy bishop of 12th century Paris Maurice De Sully (who created Notre Dame Cathedral) used the seal of the “two horns” and the “snake” on his personal seal.
The ‘two horns’ of the ‘Wall Street Bull’ is an icon of the ‘Ox’ (Taurus and the elite city of ‘Ox’ford), the Papal ‘Bull’ and the Canaanite/Israelite ‘bull’ called Moloch. Moses of ‘golden calf fame’ is often depicted with ‘horns’ (above right). The “M” behind Obama on the ‘Time’ magazine cover (below right) is not only a symbol of the horns, but the 5th Century Merovingian (later Templar) bloodline. The iconography refers to ‘possession’ and a ‘possessed bloodline’.
It’s not the first time Obama has been accidentally placed with horns’… eyes roll back. Other forces at work as ‘always’. The horned clan ‘possess’ bizarre ‘ego driven’ celebrities that don’t give a toss about you or me. Remember that next time you think the “truth movement” is on the ‘right path’ and hasn’t been ‘infected’. We all need to ‘raise our vibe’ above the ‘new age, old age’, Hollywood, ‘star struck’ cesspit of Alpha Orion (red carpet) and the dying dwarf star/sun called Saturn. The truth about Saturn’s power, comes from ‘elsewhere’ and has not yet been fully revealed.
I have researched the Hopi, the Native American myths over two decades now and from my understanding, I know enough to say that the ‘order’ of influence over our human perception and society (by non human secret societies) has to include the ‘Red and Blue’ stars of the Orion Constellation. The stars Bellatrix and Betelgeuse are two novas’ that have been focused on hugely by the indigenous people of Earth. Betelgeuse, Alpha Orionis (abbreviated Alpha Ori), which is the ‘ninth-brightest star’ in the night sky and ‘second brightest in the constellation of Orion’, is also the Ninth Gate. There is a connection to this star and the devilish trickery that has permeated from it. The Koshari clowns revered by certain Native American tribes were said to have originated from Betelgeuse in Orion. See the movie of the same name (spelt differently).
Betelgeuse was also known as Palasohu the ‘red star’ by the Hopi and Palaakwapi was also known as the ‘red house’ a city of the star people located in Arizona (Sedona area). From the Red City (in MU) it is said that the Hopi ancestral home was once a ‘temple city’ surrounded by a ‘towering wall of red stone’. If you ever vist the region as I have many years ago, you will sense the ‘magic’ in the stones and formations across red rock Arizona.
Another star of Orion, Rigel (also known as Beta Orionis), is a B-type blue ‘super giant’ that is the sixth brightest star in the night sky. There are 3 other giants of Orion that are also blue. In all these red and blue giants are personified in the myths, legends and folklore of indigenous peoples as the ‘rulers of dreams’ (the American Dream, lol), the home of the Archons and the Jinn and the trickster (Clown) deities sometimes with horns.
The movie The Purge – Election Year also offers some symbolic imagery that connects to the ‘red and blue’ ‘X’ for eyes’ and the ‘clowns masks’ of course are prominent in this film. Not to mention the recent rise of the ‘clown sightings’ as we approach Halloween! Along with US politics and generally in the ‘Western World’ the use of the colours ‘blue and red’ are pivotal and connect to the Orion constellation, not least the ‘red and blue giants’. Remember the ‘red’ and ‘blue’ pills in the Matrix movie?
The Nine Circles of EL (Hell)
The ‘nine rings’, ‘holies’, ‘circles’ are the symbolic unseen ‘circuitry’ that connects ‘Saturn to Orion’. The circles (gateways) connect us energetically to the ‘non physical’ tricksters (Archons), that according to the Gnostic texts, evolved out of the ‘nuclear fusion’ that became the ‘Orion nebula’. Named after the Latin word for ‘cloud’, nebulae are not only massive clouds of dust, hydrogen and helium gas, and plasma; they are also often ‘stellar nurseries’ – i.e. the place where stars are born. ‘Humans are born there’, our DNA is genetic star stuff that gives us a myriad of forms. Life, death, all duality, centered on Orion, challenged by the Bull of Taurus and anchored by the dying dwarf stars Jupiter and Saturn and their minions (Moons and planets); all symbolically give us the ingredients for our ‘human world’. Artificial Intelligence and the ‘cloud’ we all accept now as an alternive ‘reality’ is part of this energetic connection to the forces of Orion. The ‘nine circles’, I would say, are the ‘frequency bands’ that ’emit’ the blueprint of ‘life and death’ from the Orion constellation via our suns (stars) in the ‘Solar Cabalastic Tree’ (Solar System).
The Polanski Movie ‘The Ninth Gate‘ featuring the ever so growing darker by the year’ Johnny Depp, is a film about the Satanic Elite and the book The Nine Gates of the Kingdom of Shadows by 17th-century author Aristide Torchia; a book that was said to be able to summon the Devil. Interestingly the final scene in this movie is filmed in the Cathar castle, Château de Puivert, in Aude, France, (a place I have visited several times). The Cathars of course were ‘wiped out’ (not least through burning at the stake) for practicing Gnostic teachings. The same teachings that warned people of the very Jinn that consumed death through fire!
The Knight Templar Dante Alighieri 14th-century epic poem Divine Comedy followed by Purgatorio and Paradiso and onto The Inferno tells the journey of Dante through Hell, guided by the ancient Roman poet Virgil. In the poem, Hell is depicted as nine circles of suffering located within the Earth. Without going into huge detail here the circles are realms (frequency) that align with the so-called Seven Deadly Sins depicted as an eye by Hieronymus Bosch (below). It’s all in the perception you see.
Interestingly the 8th Sin, the ‘Eighth Circle’, called Malebolge (Evil Ditches) or the upper half of the Hell of the Fraudulent and Malicious. The ‘eighth circle’ was described by Dante as a large funnel of stone shaped like an amphitheatre around which run a series of ten deep, narrow, concentric ditches or trenches. Within these ditches are punished those guilty of ‘fraud and deception’. See my G8 global political illustration. The ‘puppets’ always change, but the ‘vibe’ remains the same.
Symbolically speaking the Nine Circles or ‘rings’ (if you are a Tolkein fan), relate to the ‘constructed hemispheres’ that ‘restrict human consciousness’ and form an ‘ethereal link’ to the otherworldly creators of the Holy of Holies. In otherwords, the levels of Hell are real for those that take their etheral body into these states of mind. Dr Strange anyone?
According to the outstanding work of US research analyst Danny Wilten. In 10,500 B.C, when The Pyramids matched ‘Orion’s belt’, the Nile Delta represented the Orion nebula itself and more than this, his work seems to back up the ‘holographic nature’ of the Orion nebula as ot ‘appears’ mirrored in the imagery of Earth’s topology. Wilten has spent years looking at the uncanny parallels between historial Renaissance art and the Orion nebula, anyone seriously interested in the nature of the ‘hologram’, should consider his amazing research.
Human life, the arts, religion and ceremonies all over the Earth seems to be aligned with the Orion nebula and its projector of holographic ‘blue prints’ centered on Orion’s trapezium cluster. The ‘trinity projector’ as I like to call it.
Saturn’s (Satan’s) hold over Humanity
Satan in the Dante’s Inferno is trapped in the frozen central zone in the Ninth Circle of Hell, Canto XXXI. (see Gustave Doré’s image below). Blake’s image on the left focuses us on the ‘three faces’ of satan. Blake spent the last year of his life illustrating the Dante’s works and never finished them.
In Inferno, Saturn is ‘controlled and restricted’ by the ‘circles of Hell’ that bind this ‘Fallen Star’ and permits ‘its alter ego ‘Chronos’ to devour as he does. Where Janus was ‘two faced’ Satan has Three…
…he had three faces: one in front bloodred; and then another two that, just above the midpoint of each shoulder, joined the first; and at the crown, all three were reattached; the right looked somewhat yellow, somewhat white; the left in its appearance was like those who come from where the Nile, descending, flows…
Taken form Inferno, Canto XXXIV, lines 39–45, Mandelbaum translation.
The English playwright and poet Dorothy L. Sayers notes that Satan’s three faces are thought by some to suggest his ‘control over the three human races’ and based on Judaic lore of the ‘tribes of Israel‘: red for the Europeans (from Japheth), yellow for the Asiatic (from Shem), and black/blue for the African (the race of Ham). I would suggest that the colour symbology here includes both ‘black and white’ (White/yellow) and blue (Black/blue) and all of it relates to the science of ‘Chromatics, DNA’ (below) and the influence of the constellation of Orion over our Sun (via Saturn), our ‘calendars’ (time) and therefore our human world. The chromatic seals are hieroglyphs that seem to speak of the ‘subtle matrix of codes’ that connect our DNA to the stars of Orion. For more information on the maths of the Chromatics see the work of Jose Arguelles.
All interpretations recognize that the three faces of Saturn (Satan) represent a fundamental ‘perversion of the Trinity’. Three stars x Three stars = Nine Circles of Hell ‘on Earth’. But anyone who knows Dante, there are also the upper circles of Heaven to contemplate.
Only if we allow it, or perceive it to be so.
As above, so below…
So No, I won’t be joining in with Halloween or the coming of ‘Saturn’s time’ ‘zombie-loving-sexy vampire meets ‘chucky’ vibe’. Nor shall I be adorning a ‘trickster outfit’ garbed in black and white or wearing a clown’s mask. I wont be giving my energy away to the ‘death vibe’, the purge vibe and ushering in Saturnalia, without even knowing so!
I will instead light a candle and remember those that are lost, homeless and in need of healing at this sacred cross over point in ‘time’.
You have to ask the question why Halloween has become another “celebration” on the ‘party’ calendar. When I was a kid it was simply a “penny for the guy” – also known as ‘legalized begging’ in the UK. Kids back then would sit with an effigy of a 1600’s English Catholic terrorist called Guy Fawkes (now turned into the face of defiance by the movie V for Vendetta), asking for a penny to put our ‘guy’ to a fiery end on Bonfire Night, but at least our little voodoo ‘guys’ looked harmless. Mind you, ‘trick or treat’ is now practically legitimate begging too in many towns across the UK. This blog is in two parts, as I want to cover in some depth the symbolism and imagery associated with the constellation of Orion.
I personally used to like the idea of ‘mischievous night’, where did that go? Of course the burning of Guy Fawkes along with the ‘Burning Man’ festivals in the USA are links to the ancient Pagan (Wicker) and too often satanic ceremonies that have literally involved burning people alive over the Centuries. Fire was a ‘tool’ of the Christian Inquisition the world over, and so ‘burning alive’ a victim was considered an offering to ‘other worldly’ entities whether Pagan, the Church or the real ‘unseen’ forces behind these beliefs.
But Halloween has become a ‘pantomime’ in the UK and USA, a bit like the political show. Its place in the calendar is up there with ‘Disney land proportions of sway over the populace’. From the Pagan traditions, to the now ‘trick or treat’, ‘sleazy zombie’ meets ‘Chucky’ for a ‘piss up’, Halloween in its modern form has moved on; but its reason for existing en mass has more to do with seriously ‘dark’ connections to Satanism as we enter the ‘darker days’ of Autumn. Dressing up as zombies, witches, devils, (innocently), energetically mirror forces that ‘want horror’ in all its forms. Whether effigies of a bloke nailed to a cross or a lit pumpkin(once skull), both energetically come from the same focus on ‘death’. Many artists that belonged to the ‘Brotherhood’ or ‘inner circles across Europe’ from the Renaissance onwards knew the true meaning behind the ‘cult of the dead’. The imagery associated with the skull and the more ‘cannibalistic rituals’ of the ‘elite priests of ancient times’ can be seen as an archetype in numerous art, too many to go into in this particular blog.
I am not saying that some harmless fun, a laugh or dressing up with your mates alludes to the above, of course not. Our unique vibe (energy) is often more powerful than the collective hive-mind. It’s what lurks in the shadows, ‘behind the scenes’ that likes ‘our ‘energetic attention’, especially at points on the calendar/time wheel.
Lady Gaga (above right) seems to be permanently celebrating Halloween? But its not Halloween is it? Its the Portal point into the ‘underworld’, the ‘shadow world’ of aspects of Orion and Saturn worship through the cult of the dead. Halloween is a major point on ‘Hecate’s ‘Wheel of Time’ and Hecate or Kali (the Dark Goddess) focuses our attention at this ‘dark time’. She is also known as Arianrhod, Catherine and Persephone in other versions of these beliefs and myths. The winter festival of Lenaea (the ‘wild hunts’) in ancient Greece was also a akin to the celebration of ‘dark forces’ that would run amok from their point of entry into our world at Samhain (Halloween) through to Saturnalia (below). The Hunter will become a significant symbol, as it is Orion who leads the hunt From the ‘Death Eaters’ in the ‘Harry Potter‘ movies to Madonna using the ‘Horned El/Molech god’ (more on that in part 2) at the super bowl several years ago. All are ‘symbols’ of the darker worlds that form portals connecting us to the ‘shadow’ worlds hidden in the Orion Constellation.
The Death of a ‘god’, the death of a year, the death ‘in nature’ all producing the darker days and in general, leads to ‘dark mass’ from ‘All Hallows Eve’ through to Saturnalia. With the Elite and those that have a vested interest in keeping the masses focused on a lower vibration, of course, Halloween has become a focus for Satanists. Just as Saturnalia (Christmas) is another reinforced energy theft, from ‘endless shopping’ to the religious iconography’, for those that participate. All this imagery serves as a ‘channel’ for forces that feed off our mental energy and our collective ‘focus’ at these points of the year.
Life, Death & Orion
In Biblical traditions, John the Baptist was said to be born six months before Jesus Christ, both astrologically marking opposites ends of the Milky Way. Like the Ancient Celtic counterparts, the Oak and ‘Holly Kings’, ‘John and Jesus’ are said to be ‘solar deities’ whose coronations coincide with the solstices. Son of Atum, (Man) Adam, Osiris (the Green Man) are all connected to Orion and ‘the lord of time’ who governs the Soltices and equinoxes.
Note also the swastikas on the Halloween costume (below left) they are symbols of the opposing forces born of Orion’s projection on Earth. Just as the Swastika formation is a representation of the swirling galactic forces of Orion. The photo here shows the original version of the solar forces. On the Indian coin below stands Orion with a swastika between his feet and the ‘OM symbol’ has also been connected to the solar trinity focused on Orion (bottom image from Italy).
Whether pagan or Christian, these twin male (Jesus/John) force reigns over the solstices in a perpetual cycle of life, death and rebirth. John of course loses his head symbolically (the pumpkin) and as with the leader of the ‘Sun and Fire’ clans of the Hopi, Pahana, also has his head removed on their ancient tablets. The Hopi chief deity Masauwu (see below) carries a head and a sack of seeds (stars) and Masauwu is often wearing a pumpkin like mask or head. Note the Sun wheel in the petroglyph below and the flute player. These two symbols relate to ‘life’ and are opposing Masauwa as a symbol of ‘death’. Both petroglyphs are symbolic of the time of death (from All Hallow’s Eve through to Saturnalia, when the Sun ‘symbolically dies’ and Masauwu (Orion) can be seen in the skies. Petroglyphs like these were ‘calendar markers’ for the Hopi in the Bronze Age period. The Egyptians, Mayans, etc, instead fixed their ‘Orion connection’ to the pyramids.
The feast of ‘All Hallows Eve’, on its current date in the Western calendar, may be traced to Pope Gregory III’s (731–741) founding of an oratory in St Peter’s for the relics “of the holy apostles and of ‘all saints’, martyrs and confessors”, those that were often ‘burned’ at the stake. In 835, All Hallows’ Day was officially switched to 1 November, the same date as the Pagan date of Samhain, at the behest of Pope Gregory IV. Of course, Samhain also Anglicized as Sawin, Sowin, in the ancient world marked the end of the ‘harvest season’ and the beginning of winter or the ‘darker half’ of the year. In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect people at this ‘time’ of year and many indigenous peoples used ‘sacred fire’ as a marker of the beginning of the new Sun as Winter approached. It is suggested that the fires were a kind of imitative or sympathetic magic – they mimicked the Sun, the stars, helping the ‘powers of growth’ and holding back the decay and darkness of the coming winter. Bonfires were also said to keep ‘away the devil’. On a physical level this is true, but on the ‘unseen’ levels, there are forces that ‘love fire’. The salamander symbol is one example of this reversal of fire and its usefulness to those unseen forces.
The ‘dark’ half is exactly what we are looking at with Halloween and the days leading up to it. It is why its symbols relate to the ‘cult of the dead’ and it’s opposite ‘the god of Life’ (from the light half to the dark half of the year). The imagery associated with the skull (including the Halloween pumpkin-head) is another symbol for the ‘death cults’ that are still using archetypal imagery in many festivals, ‘music’, symbols and in movies to this day. Christmas, or Saturnalia was the final doorway through to the ‘new sun’ (New Year) and in some of the Scandinavian lores and legends, ‘Krampus‘ (the horned keeper) accompanies Father Christmas. He’s the symbolic repesrentation of the ‘devilish’ horned clan I look at in part two.
The Tibetans and the Hopi are said to be the same ‘first peoples’ and both cultures have ceremonies that imitate the two horned deities.
The ‘two horns’ and the colour symbolism of ‘red and blue’ are also connected to the ‘death cults’, trickster gods (Mercury and the snakes) and all these archetypes fit like ‘cogs in a unseen clock’ working the ‘cycles’ of duality in our minds.
The constellation of Orion also rises in the Northern Hemisphere in the autumn, so to usher in the darker days of year. Orion as we shall see, is a star system that is highly relevant to this ‘opening of time’ as we pass through into period called Saturnalia – Winter and Yule. It all starts with ‘All Hallows Eve’.
As the Gnostic Gospel of Philip supposedly say,
“Truth did not come into the world naked, but it came in types and images. The world will not receive truth in any other way. There is a rebirth and an image of rebirth. It is certainly necessary to be born again through the image.”
The subconscious adornment of images and symbols are what ‘constructs’ the Matrix of reality – they train our perception to create. The more I have delved into this phenomena, the more I have come to realise that the ‘perception deception’ does not end with Saturn and its minions (Moons). The eye, the Pyramids and the Orion constellation all come together in my painting below, tilted, The Creator Gods of the Fourth Dimension. When I painted it in the early 90’s I had no idea about all of the subjects I am highlighting here.
In part two I will delve a little deeper into these symbolic connections. Click here
I have now completed the last painting from a series of lion images that have brought me full circle in terms of my work. It’s 21 years ago that I started out on my path as a visual artist/Illustrator, on a so-called ‘spiritual journey’ that introduced me to some of the most interesting people. Many connections have ‘come and gone’, just as my art has changed over the decades. From the early metaphysical years in London, to the ‘stagnant years of Cornwall’, it’s been a crazy ride with many highs and lows. Believe it or not, there seems to be less support now for my art than there was 6 years ago, despite the ‘rising interest’ in certain authors work that I have created imagery for.
The image in this blog (above) came out of a dream I’d had earlier this year. It made me ‘reflect’ on sketchbook images too that related to similar themes. Eventually this led to research (as always) into the ‘visual nature’ of the forces that ‘shape our reality’. I gave a small lecture at the Rudolf Steiner House in London (March 2016), where I looked at some of these ideas and the thoughts I’d had in relation to the ‘invisible force’ that manipulates our ‘world perception’ – our world view’. The canvas above is a simplistic combination of symbols that capture the essence of these forces. In this blog I’ll try to explain how and why these symbols relate to each other.
Sophia and the Dreaming
The painting (above) is purely symbolic and considers the Gnostic teachings of the Pleroma, or what the thousands of years old Nag Hammadi texts called the abode of the Æons – the place of eternal ideas or archetypes. Click here for more on the Gnostics and the Nag Hammadi library. From my art and research, the Pleroma is the ‘living plasma’ (the electric universe) that constitutes the mass of our living Universe. The word also means ‘fullness’ or ‘plenty’ and relates to what the Native Americans called the ‘field of plenty’ – the place where all that we need to live comes from. The cornucopia is another symbol for the ‘field of plenty’ and can be found on Banks and Stately homes of those that control the ‘field of energy’. In simple terms, the Pleroma is ‘living electromagnetic consciousness’. Everything is alive and can take multiple forms. As the physicist Wallace Thornhill writes in Electric Universe, “We can detect magnetic fields in space which, according to Maxwell’s equations, means electricity must be flowing in space to produce them. It is impossible to have a magnetic field without moving electrons. Electrons only move in response to charge imbalance. Once an electron is moving, we have an electric current.”
The Gnostic texts say that the Aeons that dwelt in and beyond the Pleroma were separated from this celestial region by Horus (or Boundary) and beyond its veil lies what they called the ‘Kenoma’ or the ‘void’ – the kingdom of this world reality. Humanity was said to have been created out of the meeting of these forces, to be godlike (Aeon-like) with a powerful tool at our disposal – the divine Imagination.
An Aeon called Sophia (wisdom in Greek) aided by Thelete (intent in Greek) dreamed her existence into the realms of the Kenoma and in doing so, created what the Aboriginal cultures call the ‘Dreamtime’ (a creation epic that predates all Biblical creation narratives by tens of thousands of years). You will notice some correlations between the three worlds of Gnostic myth (Pleroma, Human/Sophia and demiurge and the Dreamtime mythology (below). All three worlds collide within the human world.
As the Goddess Sophia dreamed, its said that she fell further into the void and awoke within a ‘nightmare’ as her impact on the outer veil led to the ‘emergence’ of ‘in-organic’ elementals named Archons (Jinn). The Gnostic texts say that the Archons circled and swooned around the chaotic fields that were formed by ‘Sophia’s fall’ into the Kenoma ( her coma).
According to this myth the world we inhabit is created through ‘thought’, (the region of ‘matter made manifest) and material things’. It was the land of shadow and darkness, a place where ‘perception and deception’ would coexist to form our realty. According to the Gnostic texts, Sophia eventually took physical form as Gaia (The Original Earth) and her daughter was called Zoe (the Imagination). While the Demiurge and the Archons built their replica Earth Matrix, (using other electromagnetic bodies known as Planets and Suns), an illusionary construct (flat or otherwise), was made to perfectly ‘mimic’ the original earth reality. The Gnostics say that humanity is caught up between two realities, the ‘original Earth’ and the one created out of what the Gnostic texts call HAL forged by its ‘Creator’ – the Demiurge (or God of Genesis fame). On Earth the Archons are the ‘genies in a bottle’, phantoms that can take many forms through fire and water, so to be let loose or to be commanded. Just as one was summoned at the “Gate of the Gods” at Hayu Marca, Peru by those that travelled with David Icke back in 2012 (see below). I witnessed first hand the appearnce of the Jinn (genie) that ‘possessed’ that ancient place.
Once loose, they can and do influence the illusionary world for those that ‘communicate with them’. See all ‘magicians’ from Dr John Dee to Crowley, from the Temples of Egypt to the Satanic elite.
According to the texts the illusionary world (our Galaxy) had its Creator or king. The creator of this world was called the Demiurge, a deity that was eventually called God by the priesthoods of the Near and Middle East religions; and according to the Gnostic texts, ‘he’is the angry, ‘demented’, impostor God that envys the human divine imagination and humanities connection to the Goddess Sophia. ‘He’ is the beast often depicted as a ‘rampant lion’ whose minions became the ‘in-organic’ Archons that were supposedly ‘birthed from the chaos caused by Sophia’s ‘fall through the Pleroma’ (the source of all-that-exists).
As John Lash writes in his book, Not in His Image;
“And Sophia desired to cause the thing that had no innate spirit of its own to be formed into a likeness and rule over primal matter and over all the forces she had precipitated. So there appeared for the first time a ruler out of chaos, lion-like in appearance, androgynous, having an exaggerated sense of power within him, and ignorant of whence he came to be.” (The Apocryphon of John)
My intuitive side, along with my ‘visual research’ in recent months, is showing me that the ‘fall of Sophia’ in the Gnostic texts, hints towards the Nebula of Orion and how it was part of that ‘falling process’. The blue prints for duality and the seperation splashed through Orion and into the minds of humanity. Our unique connection to the Orion Nebula and how it links into the fall of Sophia, along with the coming of the Aeon Christos, (to aid her in her creation process), is often found in ancient sources. The Aeons Sophia and Christos are the original blueprint for the Gods and Goddesses all over the ancient world. Today, the movie industry, not least certain directors and producers (many of which are Zionists) also encode their narratives with versions of the Sophia and Christos mythology. Why? Because it is the original ‘blue print’, a powerful connection to the infinite source, beyond the Kenoma and also represents the coming awakening of Ariel (the Lion of God), in their zionist minds. The Jewish Wachowski’s Matrix movie has it all in ‘three’ parts. Zion is saved and Sophia and Christos are ‘sacrifced’ for this worthy cause.
Son of Man – Orion (cross of changes)
Our connection to the Orion constellation is monumental and can be seen in the mapping of native ‘first peoples’ towns and Mesa’s, to the aligment of pyramids across the Earth. From Nazca to Giza, Orion is aligned with much of the ancient religious centres! More so, I would go further and say that the ‘invisible forces’ that ‘illuminates’ our form, a bioogical body that may have been ‘star seeded’ ‘via’ Orion, hence the focus on its ‘Kingship’ (Kin=blood) in many ancient ‘alien-like’ civilisations. See the Hopi and the Egyptian dynasties for starters. The Hopi god Masau’u is Osiris of ancient Egypt and these ‘Son of Man’ deities are symbols of Orion, implanted in the minds of priests and shamans in different locations. The Pineal gland, ‘Odin’s eye’, through to the symbolism of Golgotha (the place of the skull), connects to this template. Along with memory and thought (the two thieves) flanking the ‘Son of Man’, all allude to the life and death forces connected to the constelation of Orion. In Tiahuanaca, Bolivia (a place I visited in 2012), the palaces with underground pyramids, along with surface pyramids are dedicated to the South American version of ‘the Son of Man’ – ‘Lord Viracocha’, (another Osiris). The H-symbol of Orion’s belt, the number 8 (a symbol of Saturn), the spider (with eight legs), the swastika symbol, the Ankh-cross-symbol and ‘T-statues’, all relate to Orion and humanities connection to the forces that worked through this location of the Pleroma. Some researchers also talk of Venus coming out of the Orion Nebula?
Dany Wilten an American analyst, alchemist, symbolist, & hermeticist has produced some outstanding work on the correlations of Orion and the knowledge of the human anatomy and hemispheres of the brain found encoded in the works of artists like Michael Angelo, long before any telescopes had been used to study nebula’s. See the amazing work (below) of Danny Wilten.
The Demiurge is a chimera-like vibration
In the Nag Hammadi, the Gnostics describe Yaldabaoth as Ariael, another variation of the angel Ariel (or Ariael), which means “Lion of God” or “Hearth of God”. The Apocryphon of John, a work heavily quoted by John Lash in his excellent book ‘Not in his Image’, describes the Demiurge as a ‘dragon-like lion’ (a beast). The beast is the Chimera, a ‘virus’ made manifest that infested our world to replicate itself through the human mind. It is the ‘beast within’, a ‘persona’ (a mask) of the Demiurge, the ‘phantom self’ (see David Icke’s book of the same name), for those that are unkowingly possessed by the chimera, if they allow it to be the overriding force.
Again the Gnostic texts allude to the demiurge and the veil between the spirit and material world;
A Veil exists between the world above [in the galactic core], and the realms that are below [exterior, in the galactic limbs]; and shadow came into being beneath the veil. Some of the shadow [dark mass] became [atomic] matter, and was projected apart [partially formed into elementary arrays, the dema]. And what Sophia created [by her impact] became a product in the matter [the dema], [a neonate form] like an aborted fetus. And [once formed] it assumed a plastic shape molded out of shadow, and became an arrogant beast resembling a lion. It was androgynous, because it was from [neutral, inorganic] matter that it derived.
Hypostasis of the Archons (II, 4:93.30 ff)
Note the word androgynous, which is connected to the obessesion with ‘no gender’.
The Hypostasis of the Archons explains that they (the archons) created seven powers for themselves, and these powers created ‘six angels’. One of the angels is called Sabaoth (the Lord of Hosts) who was said to have “a dragon’s face”. Sabaoth became the Ring Lord, Sauron or Saturn.
John Lash equates Saboeth with our Sun, but the Apocryphon of John says: “the sixth one is Cain, whom the generations of men call the ‘fallen Sun’.” This fallen Sun is both Helios and Saturn, Prometheus (the young) and Kronos (the old). See the Rockefeller Plaza in New York, it shows both Prometheus and ‘Ancient of Days’ (Saturn) in one location. Saturn with its artificial rings and therefore distorted sound (vibration) is let loose and bypassed by connecting our hearts and minds to the original infinite source (the Aeons) beyond the Kenoma. The Lord of Hosts, ‘Saturn with its rings’ is holding the Illusion in place. I feel that Orion held sway over the original ‘ring less’ Saturn (the old Sun of Orion) and this idea is symbolised in my painting Ariel – The Lion of God. A harmonised man and woman, connected through their heart will naturally by pass the ‘rings of constriction’ imposed via Saboeth and the Moon (Sin). I illustrate this idea in more detail in my graphic novel Moon Slayer.
On the left of my painting I show the creation of man and woman (Adam and Eve) as a fusion of the Pleroma of Orion and contained by the creator god Atum, who is also Adam (Osiris). Adam coupled with an aspect of Sophia (Isis/Eve), they form a trapezium (a trinity) along with the solar/stellar consciousness called Rigel, the brightest star in the constellation Orion, (not to be confused with Regulus in Leo). Rigel is the ‘seventh’ brightest star in the night sky and relates to the seventh Chakra (the crown). In the constellation of Orion, Rigel was also known as (Altair) and probably goes back to the ancient Babylonians and Sumerians, who called Aquilae (Altair) the eagle star; A topic I am currently looking at and writing about in much more detail for my Third Book of Kokoro – The Eagles of Atlantis.
In the centre is a calm, almost meditating Lion (Ariel), which means “lion of God” in Hebrew (Shakespeare used it as the name of a ‘spirit’ in his play ‘The Tempest’). Ariel is also another word for the ‘city of Jerusalem’, not IS-RA-EL, but the ancient location. A place I firmly believe to be in the heart of all human beings. The ‘presence of Ariel’, with the Lord Archon at its third eye, is bringing forth the separation of man and woman. It is also a symbolic rendition of the two sides of the brain (left and right hemispheres). Here Ariel is portrayed as a force that has the ‘opportunity’ to change human destiny and is ‘sleeping’ for the moment (dreaming), showing our world to be created through pure imagination. In my image the ‘Lion of God’ is caught up in his own pride, on one level, but is also ‘contemplating the existence of something greater than him’. Jerusalem is not yet awake! It will be. But the the Lord of Hosts at Ariel’s third eye is manifesting the ‘prison like worlds’ (the egg shell) that encases humanity in ‘emotional thoughts’. The Moon was ‘taken’ and used for soley for this purpose by the Archons. The Moon is the egg (eye) in the sky’ that harmonizes the ‘auric egg’ and the ‘prison of the mind’ that surrounds the physical human form. William Blake’s Book and image of the Four Zoas shows this concept of the ‘energetic egg’ perfectly (see below). Replace the word ‘Satan’ with ‘Saturn’ and it makes more sense. Orion ( or Adam), with Saturn and the ‘four points of the cross’ (the intersecting circles) all construct humanities ‘reality’ (through Imagination, thoughts, emotions and the physical form).
In my image stands a single tree (symbolic of the Seraphim and watchers of old). The path to the Watcher stretches across the ‘Lion of God’ while his shoulders represent Mt. Zion and Mt. Moriah. Both mounds offer the structure for the Zionist blueprint for the world (New World Order), unless humanity stirs from its slumber. Watch what happens very closely in Jerusalem? My creative intuitive side seems to ‘know’ that we are going to see much focus on Jerusalem in the next few years. The Lion of God is not what it seems and as I have shown in my illustrated stories, the lion consciousness is the truth vibration (an invisible fire) that rises out of the heart of humanity. It forces us to ‘see all-that-there-is-to see’ at this time. The spiritual fire is ever present in my art – it is there for those that can ‘see’. While making this image I was reminded of the quote from Isaiah 29 – The Cause and Cure of Spiritual Blindness
The coming distress upon Jerusalem. 1. (1-4) The Lord humbles a proud Jerusalem.
“Woe to Ariel, to Ariel, the city where David dwelt! Add year to year; let feasts come around. Yet I will distress Ariel; there shall be heaviness and sorrow, and it shall be to Me as Ariel. I will encamp against you all around, I will lay siege against you with a mound, and I will raise siege works against you. You shall be brought down, you shall speak out of the ground; your speech shall be low, out of the dust; your voice shall be like a medium’s, out of the ground; and your speech shall whisper out of the dust.
In Romans 13:11 written to the Christians:
And do this, knowing the time that now it is high time to awake out of sleep; for now our salvation is nearer than when we first believed. Christians need to be awake, especially knowing the time!
I would say all people need to awake and speak out, no matter what you believe.
As I said at the beginning of this blog, the painting is the ‘beginning and the end of an era’ for me in terms of making this kind of art. I’am going back to school ‘metaphorically’ to see what other ways and methods I can come up with. I may go very quiet, hermit-like, maybe write another smal book based on this blog? But I would like my work to be ‘out there more’, especially physically (exhibitions, etc). If anyone would like to organise an exhibition, or talk, get in touch. Let’s raise the vibrations together.
“A man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened”
Image making, or any creative act, can be the vehicle by which we observe the multi-dimensional aspects of ourselves unfold in this reality. It is also true that a painting can speak a thousand words and from this perspective all art is an ancient form of communication, one that bypasses the intellect and speaks through symbols and archetypes of the hidden nature of life. The tool by which we turn our ‘sparks of inspiration’ into something tangible is the imagination. It was Blake who wrote: “The imagination liveth forever” and through the images, stories, sculptures and temples of the ancient world, many memories also live on forever in this matrix of worlds. As artists or creators in the world it is our natural state to tune into this field of plenty, to open the portals in space and time. My art has been described as both shamanic and healing by many who have seen originals hanging on a wall in a gallery. I was told by several American Indians over the years that I am using the spirit of the ‘first people’ through my work. I have felt this connection when I have travelled or ‘journeyed’ into other dimensions through making art. Once you venture into the realms of the archetypes you see many correlations as a ‘creator’ of images.
The ‘wandering fool’ or ‘priest’ is an ancient one that can be found amongst the petroglyphs and rock art showing the movements of ancient peoples (see above), through to the medieval minstrel, hermit or fool in the Tarot. It is an archetype that is found within us all. It is the ‘journey maker’ who gives us the first step to enlightenment, one who travels through worlds of his or her own making. He is also a trickster as such who sits on the periphery of society, urging us to question reality. He is also a fool and a shaman who knows how to access his child within, our imagination and our willingness to explore the possibilities beyond this reality. The Heyoka clown medicine men of the Lakota Sioux (below left) also embodied the same quality. Heyoka clowns were also great teachers of humour, imagination and how we can fool ourselves into believing that the journey, our quest for knowledge, as ended. The sacred clown as an archetype is heavily connected to the teachings of ‘opposites’ and duality and something tells me that the Orion constellation is hugely connected to this knowledge. The Koshari Clown Betelguese is the ninth-brightest star in the night sky and second-brightest in the constellation of Orion. The connections are obvious once you see the connections. From the Masonic ‘black and white’ squares. to the clowns ‘black and white’ costumes, all lead to an archetype that offers a pivotal anchor for duality. The clown, the fool, the wanderer and the hermit are considering the roles of good and evil (even acting them out), and it seems that Orion offers us great insight into the illusions of separation that ‘use duality’ in all its forms. Something I will write about in more detail in other blogs.
I painted the picture below after an intense hike over 70 miles through the Cathar country of Southern France in 1995. The wanderer in my image below is also a ‘priest of Orion’ who has discovered the need to ‘move on’ and leave dogma behind. He is Osiris, or Lightning man and the dog is his companion, his connection with his ancestors from the stars (Sirius). The staff or wand he carries is the power that keeps him searching as he passes through one reality and into the next. The fire in the sky is the illumination taking place within his soul as the Earth vibrates to a higher frequency. The sun and the mountain represent a portal to the source, his initiation as he ascends the world vortex or the mystic spiral. The white castle is the place (this world) that he passes through, has he remembers the keys to unlock the vaults of time. You will obviously read this image in a different way. To some it will be a ‘saviour figure’ that moves through a world of turbulence and disorder. Some will see only a man and his dog at the foot of a mountain. To others it will be the wisdom of old age, the hermit or the magician leaving the cave for another journey. It really does not matter what we see in an image, it’s the effect it has on our soul. He also has a wife, who I will talk about in another article.
I’ve started painting these type of archetypes again in recent weeks and it feels as though the journey over the past 20 years is now reaching an ‘end cycle’, only to be once again starting over. I am also looking closely at Gnostic Creation Myths and how these relate to the above archetypes within the images I am making. After giving a lecture recently to the Research into Lost Ancient Knowledge Organisation (RILKO) in London, I realised that my power point would make a book and this is something I am interested in pursing over the year.
For us to be able to make that ‘leap in consciousness’ or ‘merge dimensions’, we have to know and feel the power of oneness and the stillness it instills within our being. This state is often felt when we meditate, make love, create, walk in nature and so forth. It is that timeless phase which takes us out of manufactured time imposed by the mechanical clock. The original calendar and clock we have inherited do not so much measure time, instead, they were designed to keep people locked within a time frame, a quarantine of the mind, body and soul. This quarantine is much more advanced now than it ever was. Our individual states of timelessness open us up to other dimensions, and while in these states we can feel and access information that would not easily filter into our (masculine) rational left side of the brain. Being in this timeless state is when we start to ‘see with our ancient eyes’. While contemplating the above archetypes and spending time in meditation I found myself journeying into the past/future scenes that show a version of the wanderer who often appears in my art and illustrations. I’ve added the scenes below. Who he is, I’ll leave that up to your imagination?
Connecting with the vast array of archetypes within us, (which are also visible in nature), and the knowledge they hold, is symbolic of a constant journey into spirit – a remembrance of what we are doing here and who we really are! When we become too wrapped up with the five senses it becomes harder to ‘feel’ the images that come out of nature, and therefore we can miss out on the mysterious forms of communication between different dimensions. Sometimes we have to be silent to move beyond words. When I have journeyed and walked in nature for several weeks at a time, this too encourages a stillness that is beyond words. The humming of insects in a dense forest, sunlight filtering through columns of pine, returning trees to their true reverence, just as stained glass light filters into cathedrals. Faces in the trees, sculptures on ancient rock all give the same effect to the senses. Nature is a living library that can open our eyes to the realms of spirit reminding us of our soul’s connection with the Creator. The following is from an extract of contemplations I wrote while walking the ancient Cathar routes in Southern France. It conveys the movement of the soul and how nature can help us contemplate and see through our ancient eyes. It is called The Journey:
“Not thinking of arrival, I undertake a journey that takes me to my heart, pulls me on my way. Like a long trek in the wilderness, to somewhere new, excitement are my first feelings. Early days are easy with much to discover. The road is here and now, stretching out before me. My mood is up, some roads take me down. The sun sheds its light, days and nights feel uncomfortable. Heavy loads some of us choose to carry.
Slowly, I am immersed in nature, forest gorge, mountain hillside. Every detail catches my eye. Ants on rocky winding paths, become silent friends. Wind in the trees rustle leaves, whispering of what is to come. Light on a mountain stream and deep clear lakes, quench my thirst, cleansing my soul. Giving time for true reflection.
After a while the journey becomes familiar, my load easier, destination nearer. The elements clarify the day. Peace with nature means peace with myself. Animals remind me of people, faces in the clouds and everything looks similar. Next observation of the self occurred. In the silence my body speaks to me. Feeling pain, tears, sweat cleanses and boundaries are broken. I recognise a priceless vehicle I own. Contemplation with myself. In the middle of a vast plain with nobody for thirty miles, I wonder, what excess possessions can do for me right now, in the moment? Then the moment spurs me on, like a power in the mind, creating an awareness that I am that journey, moving and evolving – infinite in all its possibilities.