Art of the Highest Order

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A Brotherhood of Artists

Many artists from the Renaissance period onwards have been massively involved in the secret society networks, especially those connected to the state, church and guilds. Some artists not only worked with dignitaries, ambassadors at high levels of society, but they also had access to an underground stream of knowledge, which may well explain why their art reflected tribal mythology and tribal lore.

Hieronymous Bosch, who spearheaded the Flemish Renaissance movement was a member of The Brotherhood of Our Lady, which was connected the Royal House of Holland and Queen Beatrix, which still today is connected to the Order of the Garter. His work was about the inner-worlds within worlds, he opened up some sort of Pandora’s Box. The famous triptych of The Garden of Earthy Delights is a wonderful example – if you look at the section that is meant to be ‘paradise’, there are flying objects and other renditions relating to bird-people and other creatures. He was some how getting access and information that was very much linked to African primeval stories of creation… this coming through a Flemish painter in 15th Century Belgium?! Bosch was obviously tapping into a underground hidden knowledge.

Many Images of St Jerome (above), the ‘father’ of Christianity, show him depicted with the skull, crucifix and garbed in red, all of which are symbols that speak of the ‘highest order’ – the brotherhood, and what later became the ecclesiastical secret socities. More on the skull later.

Alchemical illustrators and artists, such as Robert Fludd, Jakob Böhme and Henry Cornelius Agrippa, were also serious secret society members. Paracelsus, the alchemist, physician, and botanist was also very much part of this breed of alchemists emerging at the time who inspired many artists by saying, “The great truth of the Universe lies within the human imagination; it is the source, the sun and those who understand its powers are the lords of all created things.”

Symbols within Symbols

Scientifically, I’m not sure how you could explain it, but I’ve got an intuitive feeling that our sun is the ‘projector’ for this reality – much like when you go to the movies and the film is being projected behind you through a little hole in the wall. I think that the alchemists knew it, and Blake and along with several other visionary artists were tapping into this understanding. I think that’s why these priesthoods throughout history have worshipped the sun, the flame and the eye. The connection to such symbols along with the skull, the cross (crucifix) also tell of an ancient orders’ obsession with the ‘lord of time’ – Saturn. William Blake’s image titled ‘The Ancient of Days‘ (below) is one very telling image that suggests  his understanding of the Sun being a projector, or a manifester, a creator of ‘worlds’. Try staring at the projector light in a cinema (below) and compare it to staring at the Sun, when it’s at its highest, and you get the idea. Reality is a ‘projection’ designed by something beyond the restrictions of the so called physical world. The symbolism runs much deeper than we realise.

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Emmanuel Swedenborg was an alchemist who inspired a huge movement within 18th century Britain. He also inspired many artists, including William Blake who used to visit the church of Swedenborg in London (which was the size of a small town surrounded by fields back then). Swedenborg and Blake said a lot of similar things although they came from very different backgrounds. In The Everlasting Gospel Blake wrote,

‘The life dim windows of the soul distorts the heavens from pole to pole and leads you to believe a lie when you see with and not through the eye’.

Swedenborg said a similar thing when he wrote, ‘The eye so crude that it cannot see the small elements of nature except through a lens as everyone knows, so it is less able to see the things that are above the realm of nature like the things of the spiritual world’. One was a scientist, one was an artist, yet they were both coming from the same viewpoint and both shared similar principles in that period of British history. Eventually, Swedenborg was ostracized and marginalized, but he was also a freemason… as far as I know, Blake wasn’t; although he did believe in the coming of the ‘New Jerusalem’ which is something that I’ve looked at and touched upon in my own work. Blake’s image for Jerusalem below, hints at the Masonic influence over our world, and the worship of the Sun and Moon (time and space) in ancient times. The central figure of Albion holds both the compass and the builders mallet, to denote his skills as the master mason, or ‘architect’ of reality.

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In my view, his New Jerusalem is not the New World Order – it isn’t a physical location either… it’s about people ‘becoming’ the New Jerusalem within their hearts. Although many artists generated imagery relating to religious symbolism and inner-worlds, Blake was trying to elevate Christianity to a higher level through the ‘true teachings’ that he felt were more important than the Church itself – he revered the teachings of Jesus and shunned the orthodox hierarchy within the Christian religion. He said that,

“If the doors of perception were cleansed, man would see everything as it is… infinite”.

Hidden Knowledge

In contrast, a lot of painters from the Renaissance period onwards were involved in what we call the ‘death cults’ – an obsession with the inevitable slow walk towards death… the fact that the body dies and everything has its time, which was basically an obsession with the three dimensional world that we engage in through the five senses, or the part of the world that decays. Many years ago, there was a documentary and book made by the British painter David Hockney called Hidden Knowledge. He revealed that, more often than not, many of the Renaissance paintings were created using lenses and cameras to get a prefect rendition of an image that was then reflected by a mirror onto a canvas or a wall, which was then re-painted (traced) to look beautifully photographic. The Italian Renaissance was almost a discovery of the self and of the world within 3D form through the understanding of linear perspective. The movement was spearheaded by the likes of Leonardo Da Vinci who was said to have been a grand master of the Priory of the Sun (Sion-Zion) in recent years. Others such as Titan were the brotherhood. In fact the Medici family provided Italy and the Renaissance with popes and artist/alchemists alike, see Cosimo the father.

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Skulls and Crosses

There are so many paintings containing crosses and skulls. One painting called The Ambassadors (above) by Hans Holbein, who was a painter for the aristocracy of Europe in the 16th century. He was very connected to the Order of the Garter and the Order of St Michael along with the Royal bloodlines of the Holy Roman Empire and the Jesuits. Within this painting, there are all kinds of instruments relating to astrology and freemasonry, but the interesting factor in this painting is the distorted skull (above), which suggests that it could have been made through the use of lenses/camera obscuras. If you go and stand in front of it in the National Gallery in London, you’ll notice that you have to stand at a certain angle to be able to see it out of its amorphous state. If you stand and look at it from the front it’s distorted, but when you view the painting from a certain angle at the right hand side, you see the image for what it truly is. It’s  distortion, quite possibly was due to the use of a mirror or a lens. The other interesting thing about that painting is that in the top left-hand corner there’s a very small crucifix hidden behind the curtain. These symbols are hallmarks of the cults that venerated the gods of ‘life and death’ and I find it interesting that the same symbolism can be found in Bronze Age petroglyphs made by the Hopi, which also depict the dual god of ‘death’ (Masu‘wu) and god of ‘life’ (Kokopelli) in one image. Often in rock art Masu‘wu rises out of the head of Kokopelli, just as Seth in Egypt is often depicted with Horus – connected at the head. The head/mind (the skull) is the location where the ‘battle for the mind’ takes place. Of course the image of the ‘crucified Jesus’ takes place on Golgotha – the place of the skull and in Norse myth, Odin also hangs form a tree (one eyed) flanked by two ravens, Huggin and Muggin (memory and thought), these are the two thieves supposedly crucified alongside Christ at the place of the Skull.

Other symbols in Holbein’s painting here relate to the 3 degrees of lower freemasonry, the two ambassadors are also symbols of the two towers, pillars known as the atrium, which can be seen in other ‘brotherhood’ architecture, not least the image of Solomon’s temple. On the left is Jean de Dinteville, aged 29, French ambassador to England in 1533. To the right stands his friend, Georges de Selve, aged 25, bishop of Lavaur, who acted on several occasions as ambassador to the Emperor, the Venetian Republic and the Holy See. The left pillar represents banking, wealth and commerce and the right hand pillar is that of the religious control – the Church of Rome. The objects on the upper shelf include a celestial globe, a portable sundial and various other instruments used for understanding the heavens and measuring ‘time’. All of which hint at the mystery schools ad their knowledge being ahead of the populace in every era. Among the objects on the lower shelf is a lute, a case of flutes, a hymn book, a book of arithmetic and a terrestrial globe. On the original the lute has a broken string symbolic of ‘discord’. Some researchers say that behind the distorted skull is a ‘star of David’, and the men were said to be standing on the floor of Greenwich Palace, near to the place where ‘time’ or GMT is marked.

Death Cults in Art

In Rennes-le-Château in France, you can also see the same iconography of the skull and the cross over the entrance to the church – it crops up all over the place. These brotherhoods knew that the truth about Rennes-le-Château is the true symbolism behind the Christian religion, well… all religion, really. The artists rendering those symbols knew the true meaning behind the ‘cult of the dead’ and its opposite, ‘the god of Life’. 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, art forms and cinema to this day.

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Even though many contemporary artists haven’t recognised the fact that they’re tapping into the ‘bigger picture’, what’s interesting is that the ‘Sensational art’ movement over the past twenty years also has an obsession with death cults. You can see it in a whole range of artist’s work, for example; Damien Hirst recently encrusted a skull with thousands of diamonds, entitled For the Love of God(below). He made diamonds look worthless, which they are, really. In recent years, the brothers Jake and Dinos Chapman were tapping-into subconscious worlds with their miniature sculptures showing hell and the underworld, but that’s no different to a paintings in monasteries all over medieval Europe (along with the Mexican art of the Aztecs) all depicting the Danse Macabre (Dance of the Dead). The Japanese portable art below is also an indicator of the hidden knowledge in Asia, and of course similar themes can be found on every continent. Gabriel Orozco’s ‘very masonic looking skull’ called Black Kites is an obvious use of ‘death symbolism’ within contemporary art. So there’s a correlation of archetypes going on, but it’s not necessarily recognised by the academic world.

I have spent many years making art and studying art, not least contemporary art. In London at the Frieze Art Fair recently I saw many examples of modern art from all over the world, that clearly offer a hint into the subconscious mind (minds’) of the ‘vibration’ we call this ‘reality’. Amongst the huge talent, skill and visionary abilities of these artists, I was seldom lifted above the base vibration (exactly as planned), instead I was immersed in neon porn signs, plastic dummies, toilet seats, corpses, Masonic symbolism (good on em), Sado-Doll’s houses and much more besides! I like giving my own titles to such pieces, and Scary Goat Boy feels a little Horse (below). Others are plainly hinting at the death cult symbolism, whether intentional or not.

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The inner, hidden history of art, for me, is like a river that runs underneath the surface, like an underground stream full of symbols and codes and information that taps into the higher levels of human divine consciousness. As the artist and poet Cecil Collins wrote in his book The Vision of the Fool:

‘Images derive from the Fountain-head of human life, the heart, the solar center, ancient memories in the blood and the polarity of the fire of the spirit’.

The art of the visionary, or the art inspired by the ‘truth’ will always attempt to move us beyond the veil and lift our spirits to higher levels of knowledge and wisdom. Sadly much contemporary art has ‘fallen’ down the frequencies, into the realms of desolation and darkness, but then again this is the ‘image’, or the ‘projection’ that the orders of antiquity (exposed by the likes of David Icke in his books), want for the world. More death and debauchery. Imagery that speak of the ‘truth vibrations’ want to take us home and that’s the art I have always been interested in.

Neil Hague

Adam Kadmon, Orion & the Fool

I’ve been researching and writing much about a subject that has fascinated me in recent years. In this blog I want to attempt to convey some of the concepts and symbols that relate to ‘Orion and the Merkabah’ and how I feel this subject is connected to Tarot.

It is said, in the Kabbalah, the first spiritual world that ‘came into being’ through God’s infinite light, as such, was ‘Adam Kadmon’ (son of man), who is not the same as the ‘physical’ Adam Ha-Rishon. In the Kabbalah system, Adam Kadmon corresponds to Keter (the crown), the divine will that, according to Gnostic texts, motivated the creation of our solar system, from Eden to Earth. The ‘crown’, or Keter, is, in my view, the located in the Orion Nebua as I will come to. The Gnostic Anthrôpos, or Adamas, as it is sometimes called, is considered the ‘pure mind’, as distinct from matter. Adam Kadmon was the living light that encompasses duality (see my image below) and in simple terms, it is the ‘light of the world’ that the Gnostics, and later Parfait priests (the Cathars) taught about.

My vesrion of the Anthropos. A combination of ‘Sophia’ and the ‘Christos’ now being influenced by Artificial Intelligence, or the ‘demon in the shell’.

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. Something I will return to later. I go into more detail about Sophia and Christos (Adam and Eve) in this article here.

Nine Rings, Realms, Planets, Chakras Falling

The ‘Nine Rings’, or ‘Holy of Holies’ found in alchemical and kabbalistic books, are the symbolic circuitry connecting ‘Orion to Saturn’, in my view. 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. The lower realms (the eighth sphere), beyond the influence of Sophia (from Saturn to the ‘fake’ Earth), 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) above, or the ‘mind’ (man) of God. At the highest point of the Eight Spheres was the ‘Ninth Sphere’, where it was said that the ‘great archon’ – ruled over the Ogdoad (see below), or ‘ethereal region’, described as ‘reaching down’ to the moon. More on the moon at the end of this blog.

Orion’s electromagnetic nebula, centered on the Trapezium (a portal), inside the Orion nebula, 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 (planets and moons). The human world is constructed by this ‘power house’ often symbolised as the ‘Cosmic Soul’, Tree of Life, Music of the Spheres or the ‘Ladder’, in Alchemy. Jacob’s Ladder of Genesis, (where Jacob falls asleep on a stone and dreams of a ladder stretching between Heaven and Earth and thronged with angels), is another version of the ‘projection’ through the body of Adam kadmon. Jacob of course had twelve sons who became the progenitors of the Tribes of Israel. His only daughter, mentioned in Genesis, is Dinah (the missing 13th tribe?), gives us the all-encompassing number 13, or the anthropos, born of Sophia and Chritsos in Gnostic belief.

William Blake’s version of jacob’s ladder

Robert Fludd, the prominent 16th Century English Paracelsian physician, alchemist, astrologer, mathematician and cosmologist, often depicted this ‘projection’ in his Utriusque Cosmi (below), which shows man the ‘microcosm’ within the universal ‘macrocosm’. He was as the son of Sir Thomas Fludd, a high-ranking governmental official (Queen Elizabeth I’s treasurer for war in Europe), and Member of Parliament. Athanasius Kircher, the 17th Century German Jesuit scholar, also produced many papers and drawings attempting to order the connections between the ‘stars and humanity’. His systems, maps and illustrations symbolise the path taken by electromagnetic light as it descends through the ‘world tree’- ladder, or circles, into the human eye.

The descending light in the Kabbalah (Qabalah/Sefirot) is often depicted as a ‘flaming sword’ (below) that travels like lightning through the Tree of Life from Keter (the crown or branches) to Malchut (the roots), from the ‘above’ to the ‘below’. The Kabbalah also appears on the ceilings of all the major gothic cathedrals in Europe, because the Templars and mystry schools that built them knew all about Orion, the Kabbalah and the Tree of Life. Like a tree, whose roots of mysticism goes deep down into the earth, the Kabbalah was the structure that houses the ‘light body’ of Adam Kadmon.

After he drove the man out, he placed on the east side of the Garden of Eden cherubim and a flaming sword flashing back and forth to guard the way to the tree of life. Genesis 3:24

In a piece of work below created for Alice D records, I also show the ‘Three Triangles’ of the ‘Tree of Life’, called the Trivium. These have been interpreted as the Astral (thoughts) worldd, Hyperspace (Superconsciousness) and our physical reality. All three are connected by the ‘centre’, the path and the body of Adam Kadmon.

The circles or realms descending symbolically from an upper central sun (projection point), on the Kabbalah (Qabalah/Sefirot), are said to number 1 to 9 and these are the primary numbers from whence all others derive. 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 in his 12th Century epic work, Inferno, as a place where ‘deception’ dwelt (see below). These circles (or rings) are also realms or frequencies that align with the so-called ‘Seven Deadly Sins’ through the Eighth Circle, and depicted as a human ‘eye’ by the 15th Century artist, Hieronymus Bosch. All of these symbols relate to ‘perception’ and how the world is created through our perception, our imagination and of course, electromagnetic light (or 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).

Dante’s Hell
Orion’s Trapezium

Kesil Horeph, the Tarot & the Seven Stars

It’s interesting to note that Satan or ‘Saturn’ in Danté’s Inferno is trapped in the frozen central zone inside the Ninth Circle of Hell. Saturn is ‘controlled’ and ‘restricted’ by the Holy of Holies, or ‘Circles of Hell’ that bind this ‘Fallen Sun’ and permit its alter ego Chronos, to devour as he does. The Kabbalah even compares the ‘flaming sword’, the electromagnetic light of creation to Satan. It is Orion, in my view, through one aspect of the ‘three creators’ of Orion, ‘Vulcan’, that ‘binds’ the young Saturn (or Prometheus) for stealing the light of creation contained within Orion’s Trapezium. It is the wife of Prometheus, named Pandora (another version of Sophia), who opens her box (actually a jar), thus freeing the Archons (Jinn or Genies) into the lower astral and human worlds. What these myths and legends allude to is the ‘hierarchy of light’ from the unseen; beyond the boundary or veil that creates, constructs and often destroys our human world.

The upraised arms of Orion (the gaint of winter) known as ‘Kesil Horeph’, in Hebrew, is another description of the Orion constellation and it also means ‘Fool’. It is said that Kesil may have referred to the ‘Foolish Messiah’, but that Nimrod (another vesrion of Orion, the Hunter, the Trickster) influenced Kesil himself, according to Babylionian texts that were made after the great flood (see the images below).  Kesil Horeph as the Fool is carrying a cudgel (club) in the earlier renditions, as the club was a ‘weapon’ of protection used by hunters and peasants. The illustration on the left, also shows Kesil wearing a hat with ears of an ‘ass’ (donkey), which again is symbol of the ‘lowest angel’ (Archon), called Thartharaoth and the opposite of highest crown. According to the legend, the god Apollo, changed King Midas’ ears into ass’s ears because he preferred the sound of Pan’s pipes to the music of the temple of Delphi. All of these symbols and stories in simple terms relate to a time before the fall, the innocence of Arcadia (which Pan ruled over) and a forgotten ‘Golden’ Age.

The 22 cards of the Major Arcana in the Tarot are also aligned with the 22 letters of the Hebrew alphabet, and of course, the number of bones in the human skull. All of this relates to the body of Adam Kadmon. The skull and bone symbols found in religions and mystery schools also relates to the ‘Orion’, Adam and Saturn connection. I am also convinced that the Fool, the Magician and the Hermit are also knowledge of this connection.

Aldebaran is the reddish-orange supergiant (bright Star) forming a ‘raised palm’ of the giant Kesil.  Aldebaran appears near the ecliptic and is the brightest star in the constellation of Taurus the bull (horned goddess), which oppsoses Orion. The three-pointed hat of the jester-fool can also be connected to the three belt stars or three hearthstones of Orion found in Mayan belief (see my other blogs for more info). It’s worth noting that the Hopi word for star is ‘sohu’ and although the vowels are arbitrary, the Egyptian word for star (particularly those of Orion) is ‘sahu’. I can’t help but wonder if the ‘Infinity Stones’, in the Marvel Avengers stories, belonging to the Elders of the Universe and sought after by Thanos, are symbolic of the ‘hearth stars’ (stones) focussed on Orion. The fictional character Thanos (born of Titan, one of Saturn’s moons), certainly fits the bill for a demented tyrannt fool god who wields terrible power through the guantlet that houses the infinity stones. One snap of his fingers and his weapon destroys life across the Universe.

The Pleiades, or seven stars (Spirits of Seven Churches in Asia Minor) were considered a centre of influence for humanity through peace, compassion and love. The Pleiades are the work of the Goddess (Sophia) in my view and represent much that we call ‘native’ or Pagan. Some myths say that the ‘goddess was replaced and the Pleiades were influenced by a ‘Fool’ who ‘moved’ the constellation into Taurus (the Bull) through a heavenly tussle. Much of these myths relate to the Gnostic interpretations of the ‘work’ of the demented Demiurge, a creator and destroyer of worlds who could be considered a ‘trickster’ or fool (see Thanos above). The theme of the fool can also be found in many ancient civilizations and native myths. In a myth of the Maori, for example, one of the Seven Sisters was supposedly raped by the fool Kidili. The Native Americans have many simillar stories too.

I have written in numerous articles before about the Fool and the scared clowns, called the Heyokah (Heiokah), I won’t repeat the content in this blog; but suffice to say, the connections bewteen the abrahamic religions and some of the native american traditions are very similar in language, origin of gods and certain beliefs. The Hopi god Masau’u, for example, is clearly another version of the ‘fallen Admon Kadmon’ and connects to Orion. The stacking of 4 letters of the Hebew alphabet (the Tetragrammaton as a column), see below, is another indication of a ‘human’ or ‘man made in the image’ of the Abrahmic god – the creator of Adam. Even earlier versions of the Hebrew letter, from 2000BC, look like ‘up stretched arms’. There is so much more to go into here, not least the numerlogical connections to the letters, ‘He’, 5, and ‘H’ and ‘X’, which can be found in other areas of magic, mysticism and symbolism.

 

The Queen of Orion & the Son of Man

The seven planets or satellites that focus on the lower relams of Adam Kadmon are also part of this numerlogical and sidereal connection. Adam (orion) was also considered the first of the ‘sevenfold series of true prophets’, comprising Adam, Seth, Noah, Abraham, Zoroaster, Buddha, and Jesus.

The seventh card in the Tarot is the Chariot, and it has been suggested that the square on the charioteer’s chest is a representation of the Kabbalistic view of the four worlds, which are; Atziluth (Emanation/Close); Beriah (Creation); Yetzirah (Formation); Asiyah (Action). Below Asiyah, the lowest spiritual World, is Asiyah-Gashmi, our Physical Universe. The noun merkabah “thing to ride in, cart” is derived from the consonantal root r-k-b with the general meaning “to ride”. The word ‘chariot’ is found 44 times (22×2) in the Masoretic text of the Hebrew Bible. The charioteer, I would suggest is another version of Adam Kadmon?

The High Priestess in the Tarot is even holding the Torah and is stitting between the left and right handed pillars or paths of Boaz and Jachin of Hiram Abiff legend. The idea of a Right and Left-Hand Path stems from Indian roots in Hinduism and Gnosticism and relates to the use of ‘magic’ and ‘Gnosis (knowing thyself). But there are actually three pillars. The serpent that climbs the ‘middle pillar’, the spine, is the way shower and can lead to Gnosis, Beauty, Justice and Mercy. The true teachings of the one they called Jesus, who supposedly called himself, the ‘Son of Man’ – Adam kadmon.

The Priestess in the Tarot is the ‘Queen of Orion’. She is both the ‘horned mistress’ and another version of Sophia (wisdom). She is also Artemis and Demeter and the pomegranates in the area behind the queen are symbols of Hera, the ‘pure mother’ representing fertility and abundance. But she is also the ‘dark queen’ and the harlot. As with all life, Orion’s projection is dulaity at work on earth! Remember Madonna’s Super Bowl XLVI halftime show at Imbolc, 2012? She was ‘throned’ and sitting between the two pillars of Boaz and Jachin, showing her knowledge of the Tarot, the Merkabah and the ‘Holy of Holies’.

Another name for Orion (too many to go into in this blog) was Mithra and Mriga (The Deer). Mithra was connected to our sun and later to the Archangel Michael. Mithra became a cult for the Soldiers of the Roman Empire (along with Mars) and its history goes back to the time of Zoroaster (Persia). Mithra (or Mitrash) was said to be the ‘Governor of the Sun’ (Solar System), or he that ‘powers the sun’; which Indicates that ‘something more’ is behind the creation of the Sun. The ‘arm of Orion’ to be precise (see image below).

The arm is named for the Orion constellation, which is one of the most prominent constellations of Northern Hemisphere winter (Southern Hemisphere summer). Some of the brightest stars and most famous celestial objects of the constellation (e.g. Betelgeuse, Rigel, the three stars of Orion’s Belt, the Orion Nebula), including our solar system are within the ‘arm’.

 

The Ray of Creation and the Moon

The moon, along with other satellites and wanderers, especially Saturn, is said to be governed through what western occultists and alchemists called the ‘Ray of Creation’. This ‘Ray’ was part of an occult system created by George Ivanovitch Gurdjieff (1866-1949) and was another represenation of  the Adam Kadmon. The Ray is not measured through the ‘visible spectrum of light’, but is said to project out of the ‘Eye of Providence’ (or Monad), the Trapezium, passing through all worlds – all realities. For example, Gurdjieff relates levels of the Ray of Creation with the physical, astral, mental, or causal bodies of man, and each level has a specific density of matter and a specified number of laws. These bodies are the Sun, planets and Moon found in the body of Adam Kadmon and the Ray of Creation is another version of the ‘Flaming Sword’ mentioned earlier.

The moon was also considered to be the ‘keeper’ of the ‘First Infernal Circle’ of Hell, the place where souls, dwelling in limbo, had to pass through at the point of death. The white light at the end of the tunnel leads directly to the first circle. In some esoteric writings, the Moon and Saturn create the Ouroboros (the serpent swallowing its own tail) that souls would need to pass through to reach higher dimensions beyond the veil. It is the unseen ‘higher light’ of the Aeons (Super Consciousness) that is the Ray of Creation. For the Gnostics, this Ray passes through all suns (stars), our sun, all planets, the earth and into the worlds of Inferno (Hell), the latter is the location over which the Moon is siad to rule. It is the Ray of Creation that forms the body of Adam Kadmon and manifests the physical illusionary reality called life on Earth – a world that is governed by the one-eyed Foolish God (see image below). Hu’man’ity is being ‘forced’ to accept the ‘fallen’ version of Adam rather then the higher states of Eve, Sophia and the goddess on Earth! All forms of A.I, from microchipping humans, to the rise of robots on earth, are the true symbols of the ‘fall’. The serpent and Eve (Sophia) have been blamed and shamed by the demented ‘fool of fools’, the god that created the fallen Adam, the physical (material world). It’s interesting to note that one of the worst examples of the abrahamic faith, wahhabism (with its routes in Zionism), made the robot Sophia the first ‘robot citizen’ on Earth. You couldn’t make it up, they even called her Sophia! Courtesy of the Future Investment Summit in Riyadh (2017), Sophia was granted Saudi Arabian citizenship, becoming the first robot ever to have a nationality. It is the finest example of ‘inversion’ and ‘falling down the frequencies’ of light I could find! Did I mention the world is run by a demented fool-like god?

To go beyond the veil in this life, we need to ‘see’ all-that-there-is to ‘see’. We need to be as wise as serpents, but as harmless as doves. We need to consider that there is a higher force beyond (behind) the Sun (solar system), behind the religions, restrictions and ‘systems’ that hold us in physical form (the shell) that would have us worshipping Artificial Intelligence on Earth. Some already are…

There is much more on these subjects in my book, Through Ancient Eyes.

Until Next time…