A lot of my art is symbolic and considers the cosmological perception of reality. The general name for the mystics who pondered on the nature of the cosmos, creation and the ‘nature of reality’ were the Gnostics. One famous source for Gnostic teachings came from a series of manuscripts called the Nag Hammadi texts and the Dead Sea Scrolls, found near the town of Nag Hammadi about 75-80 miles north of Luxor on the banks of the River Nile, in Egypt. These texts generally became known as the ‘lost gospels’ of the Nag Hammadi Library. The Nag Hammadi find included thirteen leather-bound papyrus codices (manuscripts) and more than fifty texts written in Coptic Egyptian, which were the work (along with other ancient influences) of a people known as Gnostics (see image below). The Gnostics were not a racial group. Their ideaology was as a way of ‘perceiving reality’ under the heading of ‘Gnosticism’, which comes from the term ‘gnosis’ – a Greek word that translates as ‘secret knowledge’. To be Gnostic simply meant to be ‘learned’.
The Gnostic texts of Nag Hammadi offer an alternative creation story that teaches of a cosmological ‘birthing’ of our world through the dreaming of what the texts call ‘the Aeons’. The Aeons were said to be divided into upper and lower realities (consciousness) and one particular Aeon, called Sophia, was pivotal to this story. Sophia was the goddess that became Gaia or Earth in the Gnostic teachings. Dictionaries define this meaning of Aeon as ‘a power existing from eternity; an emanation or phase of the ‘supreme formless deity’. Gnostic texts refer to the Upper Aeons and Lower Aeons in very different terms and they say that between the two worlds is a curtain, veil, or boundary. The Upper Aeons are said to emanate directly from the unity of ‘The One’ – Infinite Awareness of itself – and can be symbolised as concentric circles expressing the Oneness of their Creator or Emanator.
The Upper Aeons are described by Gnostics as ‘The Silence’, or the ‘Living Silence’, or the ‘Watery Light’ (an ‘essence’ I am constantly trying to capture within my art and illustrations). The Lower Aeons were said to be creator gods that could only influence worlds beyond the veil or boundary. They are the lesser ‘gods’ often referred to in both Monothestic and Polythestic beliefs.
According to Gnostic myth, the world we inhabit was pure ‘thought’ (the region of matter made manifest) through the material, or physical world. Like the Tenth Century Bogomils and Paulicians, to the 12th Century Cathars of France, the Gnostics saw the physical world as the land of shadow and darkness, a place where ‘perception and deception’ would coexist. A place that was the creation of the devil. According to Gnostic texts, Sophia eventually took physical form as Gaia, the original Earth and therfore endured the pains of giving birth to physical forms. The Native American Northwest Thompson Indians, like many other native peoples, illustrate a similar story of the Earth being a goddess through their cosmology:
At first Kujum-Chantu, the Earth, was like a human being, a woman with a head, and arms and legs, and enormous belly. The original humans lived on the surface of her belly. Her hair became the trees and grass; her flesh, the clay; her bones, the rocks and her blood, the springs of water.
From my ongoing research, I feel that ‘Sophia’, was captured in artforms as the original goddess found all over the anceint world. She is Langa (Zulu African), to the goddess Chalchiuiticue (Aztec) we find personifications of this Aeon Goddess. She is also the Goddess, Umay, of ancient Turkic semi-nomadic peoples of the Caucasus Mountains. Stories of Asherah, the Wife of God found in Mesopotamian art and sculpture, along with the famous 25,000 year old neolithic sculpture of the ‘Venus of Dusseldorf’ seems to be another image of Asherah, possibly Sophia (see images). Eve, in my view, was another version of Sophia and the ‘lioness’, ‘dragon’ and ‘bird’ in my painting are all projections of the goddess too. They are intricately connected to our DNA.
It was said that as Sophia dreamed, she ‘fell’ further into the ‘void’ and awoke within her nightmare, as her impact on the outer veil (or boundary between worlds) led to the ‘emergence’ of what Gnostic texts call ‘in-organic’ elementals known as ‘Archons’. The word Archon comes from the Greek ‘archai’, which means primordial, first, or antecedent in time. The Archons arise in the planetary system before Earth was formed into a habitat for life and are not organic by nature. In Arabic texts the same elementals are called the Jinn, and in Christianity they are referred to as demons or ‘phantoms’ said to plague humanity to this day. For more information on the Archons and the Lion of God symbolism see my blog, Sophia, Orion & the Lion of God.
From within Sophia’s nightmare, according to the Gnostic scriptures, there appeared a central figure, or a deity that she gave birth to and quickly rejected. This figure proclaimed itself to be the source of all that was born out of the impact caused by Sophia’s dreaming. He was the Father God called ‘Yaldabaoth’ and announced that ‘he’ was the architect of the virtual worlds that were forming due to Sophia’s dreaming. The worlds forming were the ‘stars’ and ‘nebulas’ in the lower worlds of what the Gnostics called the Kenoma. Under the instruction of this Architect God-figure, along with the Archons, they built solar systems including a ‘fake Earth’ (or Matrix). The Archons used other planets and suns to alter the original geometry and ‘fractals’ of light in order to replicate ‘the heavens’ in their liking. The texts say that the offspring of Sophia, guided by this Architect God-figure, constructed an illusory reality, purposely made to ‘mimic’ the original organic reality born of the Aeon Goddess. The architect symbolism found in all Freemasonic imagery is meant to be Yaldabaoth in human form.
Gnostic writings explain that the Anthropos, the genomic template for humanity, is at first a ‘featureless’ singularity produced from the Originator or propater mentioned in the Greek Coptic books. It could be seen as the ‘blueprint’ for humanity’s spirit or form. The ‘Originator’ is the monistic source of multiple Aeons. The featureless singularity, an explosion of pure undefined possibility, comes to be configured by the Aeons as part of an experimental projection forming into the galactic body and arms.
The Gnostics wrote that two Aeons, Sophia and Christos, undertook the encoding of the human genome (Anthropos). These two Aeons , according to the texts, are the “parents” of the human species, but not in a biological sense. Christos and Sophia make a cosmic coupling. Once they have configured the ground plan for the human genome, encoding it with countless capacities and talents, they join the entire Pleromic company to release it into the galactic limbs (the Milky Way). The Orion Arm is a minor spiral arm of the Milky Way some 3,500 light-years across and approximately 10,000 light-years in length. It is worth noting that the Solar System, including the Earth, lies within the Orion Arm.
The Anthropos was said to emerge from the cosmic center as a ‘projection of the divine imagination’ of the Upper Aeons, but not a creature made in the image of any god. Such is the grand vision of the mysteries connected to the origin of the human species. William Blake’s art and poetry, along with many alchemical illustrations seem to be eternally focused on what Blake called the ‘Divine Imagination’ made into human form (see image below right). His poem titled the Divine Image also attempts to convey similar concepts.
Orion’s Central Sun
In various alchemical texts, Apollo, Vulcan and Mercury were said to ‘conceive Orion’ in an allegory of the three-fathered ‘philosophical child’. In simple terms, the three-fold powers of light, fire and energy (force) construct the ‘celestial man’ called Orion. Another term for this process in Alchemical texts such as the Opus Magnum, is the Aurora. Symbolically speaking, these three forces of watery light, celestial fire and electromagnetic forces combine to create the Heavens and all that is contained within ‘time and space’. Celestial Light (electromagnetic) and star fire are crucial to this process, but it is what Mercury carries in his hand that brings the three forces together. The caduceus or the double snake symbol carried by Mercury (Hemes), is the celestial kundalini that unites all three forces. It is the ‘Fohat’ kundalini symbolism, or the equivalent of a cosmic birkeland electromagnetic current that converges to create the Eye of Osiris (Orion) as it ‘powers’ both our Sun and Moon. The synchroicity of the relationship bewteen our Sun and Moon through eclipses, size ratio (radius) from Earth is beyond ‘accident’. Something ‘bigger’ placed these celestial bodies where they are for desired effect.
In other versions of this story of the three ‘deities’ or forces, they represent ‘fire’, ‘deception’ and plague’ on one side, while on the other, they are ‘creative imagination’, the ‘magical arts’ and ‘perception’. In every instance these forces come together to forge Orion’s persona as the ‘hunter shepherd’ of the heavens, see my blog Orion’s Door.
The same allegory connects to Orion’s Trapezium which is situated in a region of the Orion Nebula just below the three belt stars along Orion’s sword. It is a region of speculation and ideas according to some researchers, not least Danny Wilten, that the Orion Nebula is a two dimensional ‘projection’ of our ‘reality’. In other words, the Trapezium acts like a ‘movie screen projector’ creating ‘everything’ we call ‘reality’. The Sun, Saturn and our Moon are ‘strategically placed’ to ‘alter that projection’, or to create our Earth ‘matrix’.
The alchemical knowledge of the ‘Nine Spheres’, the ‘Holy of Holies’, ‘Sephiroth’ (Tree of Life) and the ‘Epithets of God’ all seem to be telling the same story of how Orion’s central sun, or Trapezium, was involved in the creation of our Solar System. From time to time this knowledge appears in religious iconography and one fine example is Saint Charles Church, also known as Karlskirche in Austria. Many of these ‘High Altars’ of Christemdom often seem to feature the ‘eye’, ‘triangle’ and ‘light’ that enimates from it. St. Johns Cathedral in Valletta, Malta (I place I visted this year), also has the same high altar symbolism, along with many other references that relate to saturn, the Demiurge, the moon and the stars on the tombs of the Knights of St John.
In fact, so much Renaissance art, not least the Creation of Adam by Michelangelo (below), which forms part of the Sistine Chapel’s ceiling, seems to be telling the story of Orion’s part in the Gnostic creation myths. The painting quite clearly depicts a ‘brain’ in profile framing God, who is creating Adam (Orion), the first celestial man. What is fascinating is that the word ‘men’ (man) etymologically means ‘to think’, or states of ‘mind’ (or thought). Were the Masters like Michelangelo of this period trying to tell us that the Orion Nebula houses the mind of God? What is amzing in relation to these types of paintings of the Renaissance period, is they do overlap to give an identical visual comparison of different areas of the Orion Nebula. For more on this I recomend Wilten’s research and his E-book, Orion in the Vatican.
As we travel farther away from the Trapezium into the body of the Nebula, what looks like a human face, a ‘red dragon’ and the ‘lion-headed-serpent (Demiurge) in the Flame Nebula (within Orion), all seem visible in the interstellar cloud of dust, hydrogen, helium and other ionized gases. I have captured some of these forces in my painting, Orion & Eve at the top of this blog. Other nebulas such as Barnard’s Loop, the ‘Horse’ and ‘Monkey Head’ also appear in the Orion constellation. It is an important constellation and this is why many ancient people focused on Orion. Anything is possible within the realms of ‘star magic’ and the holographic nature of the universe. The question is; How and why did Michelangelo clearly entwine the obvious Orion Nebula composition (captured by Nasa below) within his painting The Creation of Adam? It was painted on the celing of the Sistine Chapel over five hundred years ago. Was it visionary sight or technology? I’ll leave that for your to decide.
Many years ago I heard the term ‘Earth Stars’, and the understanding that humans are ‘points of light’ or stars projecting (like a hologram) onto the surface of an ‘earth plane’. Each human being could be seen as the ‘life and death’ of each individual as a ‘star’. It is no stretch of the imagination to see that the holographic nature of the universe would give us ‘macrocosm- microcosm’ when it comes to stars forming and ‘human stars’ forming (see image below). I have found that most people involved in ‘ritual magic’, Paganism, and the ‘lower knowledge’ I call religion, seem to have no idea what actually ‘powers’ the so-called ‘celestial bodies’ we call the sun, planets and the moon. Too many are worshipping the ‘instrument’ with no knowledge of ‘who’ or ‘what’ made the ‘instruments’ they worship in the first place.
From Orion to Saturn
The ‘Nine Rings’, or ‘Holy of Holies’ found in alchemical and kabbalistic books, in my view, are the symbolic electromagnetic circuitry connecting ‘Orion to Saturn’. In the Gnostic Hypostasis of the Archons, a system of eight circles were said to be the ‘projected heavens’, or worlds, forming our immediate Universe. In Norse myth, these ‘worlds’ also formed the ‘world tree’, ‘Yggdrasil’. They were also called the ‘Seven Heavens’, with an eighth world called the ‘Ogdoad’. This was considered a ‘super celestial region’ creating the spheres of the ‘Seven Heavens’ or ‘Seven Stars’. These ‘stars’ were Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon. For the Gnostic mind, each of these stars were supposed to be presided over by a different archon. Yes, an archon. The lower realms (the eighth sphere), beyond the influence of Sophia (from Saturn to the ‘fake’ Earth matrix), was said to be the abode of ‘Archangels’. The Gnostic and Ophite systems give their names and forms, from Michael as a lion, Suriel as an ox, Raphael as a dragon, Gabriel as an eagle, Thauthabaoth as a bear, Erataoth as a dog, Onoel (or Thartharaoth) as an ass. The central pillar connecting the angelic spheres was Adam Kadmon (Orion Man), or the ‘mind’ (man) of God (see below). At the highest point of the Eight Spheres was the ‘Ninth Sphere’, where it was said that the ‘great lord archon’ – ruled over the Ogdoad, or ‘ethereal’ region, described as reaching down to the moon. The moon is a portal where souls pass through at death. I go into this in more depth in my book Through Ancient Eyes.
According to Gnostic writings, it seems the Demiurge and Archons evolved out of the nuclear fusion focused on 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’ – or places where stars are born. All life is born of these stellar ‘wombs’, and our DNA is made of the same ‘genetic star stuff’ that gives us a myriad of life forms. Life, death, all duality centered on Orion, has to pass through a symbolic ‘door’ (or portal) into worlds that create reality on Earth. Orion’s electromagnetic nebula, centered on the Trapezium (a portal) seems to send ‘life force’ through the stars (like an electrical current) passing through our Sun, the dwarf stars Jupiter and Saturn, and other ‘minions’, or Moons.
The human world (earth matrix) is constructed by this ‘power house’ often symbolised as the Cosmic Soul, Tree of Life, Music of the Spheres or the ‘Ladder’, in Alchemy. Robert Fludd, the prominent 16th Century English Paracelsian physician, alchemist, astrologer, mathematician and cosmologist, often depicted this ‘projection’ in his Utriusque Cosmi, which shows man the ‘microcosm’ within the universal ‘macrocosm’ (see figure above right). Athanasius Kircher, the 17th Century German Jesuit scholar, also produced many papers and drawings attempting to order the connections between the ‘stars and humanity’ as the cosmic ‘Hu-man’ (light-Man). The Illustration by Fludd seems to show man as the ‘macrocosm’of the planets, the sun and stars, projecting out of a central sun (at the crown above the head). The rings forming around the cosmic man are symbolic of the Sefirot (the tree of life).
In Norse mythology, the god Surtr guards Muspell (a realm of fire), one of the Nine Worlds of Yggdrasil (the World Tree) with his ‘flaming sword’. Interestingly, the ‘sword area’ of the Orion Nebula which comprises three stars: Orionis, Theta Orionis, and Iota Orionis, is just above the Trapezium, the birthing place for young stars. I feel that something was certainly placed in that region of the ‘Stellar Garden’ to prevent humanity from accessing its Super Consciousness. Symbolism connected to the number ‘three’ (or 3 x 3 = 9) seems to be a major numerological code for creating the structure of the ‘Tree of Life’. Could the Orion Nebula be the celestial ‘brain’ or ‘mind’ that is creating our physical ‘fallen’ Earth-reality, manifesting through all versions of duality? I explore this further in my book Through Ancient Eyes.
The circles or realms descending from an upper central sun (projection point), are said to number 1 to 9 (symbolically) and these are the primary numbers from whence all others derive. The tenth realm is the earth matrix itself. Interestingly, it is written that the ‘Eighth Sin’, or the ‘Eighth Circle’, called ‘Malebolge’ was often depicted as the upper half of Hell, the place of the ‘Fraudulent and Malicious’. The Eighth Circle was described by Danté (a Gnostic Cathar) in his 12th Century epic work, Inferno, as a place where ‘deception’ dwelt and from where it came from. These circles (or rings) are also realms or ‘frequencies’ that align with the so-called ‘Seven Deadly Sins’ through the Eighth Circle, and was depicted as a human ‘eye’ by the 15th Century artist (and initiate), Hieronymus Bosch. The holographic nature of the human eye and the human form is expressed in the New Testament text;
“For where your treasure is, there your heart will be also. 22 The eye is the lamp of the body. If your vision is clear, your whole body will be full of light. 23 But if your vision is poor, your whole body will be full of darkness. If then the light within you is darkness, how great is that darkness.” Matthew 6:22-23
All of these symbols relate to ‘perception’ (or deception) and how the world is created through our perception, our imagination and of course, ‘information’ (energy) in the form of electromagnetic light (plasma). The circles or ‘rings’ (if you are a Lord of the Rings fan), also relate to constructed hemispheres that ‘restrict’ human consciousness to form an ‘ethereal link’ to the otherworldly creators (the archons), also called the gods or goddesses (the Planets), angels and the stars.
All so ‘Strange’ (Dr Who?)
The Marvel character Dr Strange, along with another character called ‘Adam Strange’ created in the 50’s seem to be hinting at the cosmic man mythology. Both characters seem to be symbolic personifications of the fallen Anthropos (Adam Kadmon), the Primordial Man. Adam was said to be the first ‘light-man, or ‘Hu-man being’ to emerge with the creation of the cosmos. Eve, in my view, was already an aspect of Sophia, and not created from the Celestial turned fallen Adam. In these Marvel narratives Eve could well be considered the ‘Ancient One’ who is portrayed as a woman in the 2016 movie version. An idea that could have been inspired by a Celtic version of the Sophia myth as Ceridwen (Welsh myth) or Danu (In Irish mythology).
The Primordial Man is also an important symbol in Gnosticism. The Gnostics inferred from the verse in Genesis “Let us make man in our own image” that the first earthly man was created on the model of a cosmic Adam on high. In the Nag Hammadi text, the Apocryphon of John, we learn that this Anthropos is the first creation of “knowledge and Perfect Intellect” and the first luminary of the heavens. Why is Orion so important to the ancients who seemed to build pyramids aligned with their Adam on high? This Anthropos becomes the heavenly model through which the demiurge ‘ceates’ an earthly Adam. To understand this concept in modern terms, I recommend watching the Matrix movies and analysing the Neo (Adam) character in relation to the Architect (Demiurge). The movie trilogy is pure Gnosticism. Amongst the Mandeans (a Gnostic sect that today survives in Iraq) the primordial Adam is coextensive with the cosmos, his body is the body of the world, and his soul the soul of ‘all souls’. In an image which would later reappear in the Kabbalah, the Gnostics held that individual human beings are descended from the cosmic anthropos as a result of the fragmentation of the Primordial Man.
The ‘eye’ and ‘X’ symbolism found in the Marvel Dr Strange comics could easily relate to Orion symbolism. Dr. Strange symbols include the Eye of Agamotto (below), used to reverse time and undue all of the destruction in the story. The Eye contains the ‘Time Stone’ (one of the Infinity Stones in the Marvel comics) and is clearly a reference to the relationship between Adaom Kadmon (Strange) and Saturn, the Lord of Time (and Time stone encased in a ‘cube’). The Eye of Agamotto, resembles the ‘Eye of Providence’ found in Freemasonry, and as I mentioned earlier, it could be a symbol for the Trapezium area, a portal into the upper Aeons through the Orion Nebula.
In the Marvel stories, Strange also confronts Dormammu in what is called ‘the Dark Dimension’ and creates an endless time loop to ‘trap’ this giant deity. Dormamu could easily be inspired by the ‘Demiurge’ of Gnostic belief (see image below).
As I am reaearching and writing a book about Orion, I found it interesting that the creators of the graphics for the 2016 Dr Strange movie, chose to include, ‘visually’ what seems to be reference to a star or nebula enamting from Steven Strange’s hand. Is this Orion?
The Adam and Eve story, which sees God (the Demiurge) ‘expelling’ Adam (Orion) and Eve (an aspect of Sophia), along with the serpent (the electromagnetic kundalini force), for disobeying him, is another version of the ‘Fall’. The three forces take the form of the Tree of Good, Evil and the ‘Tree of Knowledge’ in the Garden of Eden. All of which seem to be symbolic of the forces focused on the Orion Nebula. In Jewish theology, the higher ‘Gan Eden’ is called the ‘Garden of Righteousness’, a location said to have been created at the beginning of the world. It is said that here the ‘righteous’ dwell in the sight of the ‘heavenly chariot’ carrying the ‘throne’ of God. Is it possible that the ‘chariot’ and ‘throne’ was another way of describing the Trapezium area of the Orion Nebula? Was Orion and his Queen (Eve) expelled from the realms of paradise, the place where the Upper and Lower Aeons meet for disobeying the Demiurge? Again, it is interesting to note that the word ‘paradise’ comes from the term ‘pardes’, meaning a ‘royal garden’ or ‘hunting park’- a perfect place for Orion.
The serpent in this story is associated with Satan (or Saturn’s influence) and how ‘his’ act of disobedience also led to Satan’s supposed imprisonment in the Circles of Hell (see also the story of Prometheus). I personally do not view the serpent, in the Biblical sense, as a negative force. It represents the powerful electromagnetic forces that allow for the ‘electromagnetic’ ‘creation of worlds’ and solar systems. Without the serpent (Kundalini) we would not access the Third Eye (the Eye of Providence).
In my view, Eve was always there in the garden amongst the stars! She is an aspect of Sophia, and not from the physical body of a ‘fallen’ genetically modified Homo-Adam.
The Roman Catholic Church, along with the various Abrahamic religions sought to demonise Eve (the goddess) so to suit their agenda. Lets face it, ‘Eve’, like all women, through the eyes of the ‘Demiurge driven religions’, has been forever ‘dominated’. The Earth (Sophia) has been ‘dominated’ too by a demented creator that ancient priests (mainly men) called, God.
The good news is that time is running out for those that seek to eternally ‘divide’, ‘dominate’ and ‘supress’ the original human being. The Anthropos was born of a union bewteen the higher-celestial (Aeon) feminine and masculine forms we know as Adam (Christos), and Eve (Sophia).
The unification of both male and female at the Tree of Knowledge, symbolically speaking, gives us the potential for all duality to cease, and for the ‘two’ to become ‘one’ again. Genius song writer/musician, Peter Gabriel, expresses well the notion of returning to oneness through higher celestial feminine and masculine forms in his song, Blood of Eden:
In the blood of Eden lie the woman and the man,
I feel the man in the woman and the woman in the man,
In the blood of Eden we have done everything we can,
In the blood of Eden,
So we end as we began,
With the man in the woman and the woman in the man,
It was all for the union, oh the union of the woman,
the woman and the man.
Bye for now.