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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. It’s the perfect example of Ground Hog Days… 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.
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.
Peace on Earth (while you can).
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.
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.
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”.
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.
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.
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.
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.
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.
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.
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.
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).
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 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…
The ‘Portal’ into ‘All Hallows Eve’ & Beyond (Part 2)
To read Part One first click here
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 ‘information 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 all over the world. In the epic legend of Gilgamesh, fighting the Bull of Heaven, we see opposing forces (Orion facing Taurus). In the 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 painted or carved as 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 bear and hairy men often depicted in art are symbols for the ‘children of Hermes’. A house in Thiers
(Puy-de-Dôme), France, shows an effigy of a bear man (woodwose) with the head of a fool on his staff. The place is called the House of the Man of the Woods (15th century), see carving below. In recent years I am convinced that the Fool in the Tarot is a symbol for Orion and the Major Arcana is the projection out of Orion as it travels through the ‘archetypes’ towards the last card, the World (the Earth). I am currently researching this in much more detail for a new book.
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”). The ancient Anu of Japan, were thought of as the people of the bear and they called the bear, ‘Kamuy’, which means God.
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 faces Taurus. All of these animals feature hugely in the hunts and symbols of the aristocratical bloodlines, who see themselves as children of Orion.
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’. See my book Through Ancient Eyes for more detail.
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. Remember who follows the Fool in the Tarot – the Magician.
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 Mansions 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 life giver, 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, top 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 that world leaders like Obama have been ‘accidentally’ placed with horns (see below). 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 did 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 2016 movie, The Purge – Election Year, also offered 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 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). Much more on this in my books.
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 Jinn that ‘consumed’ death through fire!
The Knight Templar (and cathar) Dante Alighieri 14th-century epic poem, Divine Comedy (followed by Purgatorio and Paradiso and onto The Inferno) tells the journey of Dante through Hell. In the poem, Dante is guided by the ancient Roman poet Virgil. 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 planetary fields and 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 was a place saved for 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 (2016). 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? See my Blog on Orion & Eve.
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 it ‘appears’ mirrored in the imagery of Earth’s topology. Wilten 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 research.
The nile delta seems to mirror Dante’s Nine Circles of Hell aswell as the Orion nebula. © Danny Wilten
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’.
Peace be with you!
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. The Roman Catholic obsession with ‘burning alive’ anyone who did not accept their ‘deity’ was designed to align this horror with ‘unseen’ forces. The burning of approximately 220 Cathars (en masse) in a bonfire at the foot of the Chateau Montsegur in southern France (in 1244), was only one example of the ‘acts of evil’ performed by the Catholic mindset.
Halloween has also become a ‘pantomime’ in the UK and USA. Its place in the calendar is up there with the ‘Disney land proportions of sway over the populace’. From the original Pagan traditions, to the now ‘trick or treat’, ‘sleazy zombie’ meets ‘Chucky’ for a ‘piss up’, Halloween in its modern form, has moved on into lunacy; but its reason for existing en mass in its modern form has more to do with ‘dark’ connections to Satanism as we enter the ‘darker days’ of Autumn. Dressing up as zombies, witches, devils, (innocently), all energetically mirror forces that ‘want horror’ in all its forms. Whether effigies of a bloke nailed to a cross or a lit pumpkin (once a skull), both energetically come from the same focus on ‘death’. Many artists that belonged to various ‘Brotherhoods’ 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 ‘elite priests in ancient times’ can be seen as an archetype in numerous art, too many to go into in this particular blog. The two most popular festivals, besides Christmas in the ‘Catholic’ calendar, are, Halloween and Easter. Both are celebrations of death on the surface, but for elite satanic networks these points on the calendar are used to futher distort reality.
I am not saying that harmless fun, a laugh or dressing up with your mates alludes to the above, of course not. In most cases 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 thes important points on the original Pagan calendar/time wheel.
Lady Gaga (above right) often seemed to be permanently celebrating Halloween at one time? But it is not Halloween in truth? It’s the portal point into the ‘underworld’, the ‘shadow world’ of ‘Orion and Saturn worship’ through the venartion of 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 was 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 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 (see below). The Hunter will become a significant symbol in this blog, 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 forces that form a vibrational pact, connecting us to the ‘shadow’ worlds hidden, some say, 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 the ‘dark mass’ from ‘All Hallows Eve’ through to Saturnalia. For the elite (and for those that have a vested interest in keeping the masses focused on a lower vibration), Halloween has become a focus for Satanists. Just as Saturnalia (Christmas) is another reinforced energy theft, from ‘endless shopping’ to the religious symbolism’; it too is enhanced to steal energy by those that control the flow of money and wealth. See my blog on Christmas here. 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. See my book Through Anceint Eyes for more information.
Note also the swastikas on the Halloween costume (below left) they are symbols of the opposing forces born of Orion’s dulaity projected on the mind of those 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 from Earth’s northern hemisphere. Petroglyphs like these were ‘calendar markers’ for the Hopi in the Bronze Age period. The Egyptians, Mayans also fixed their pyramids on Orion. See Part Two.
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 Roman Catholic King, Francis I of France (a prodigious patron of the arts who initiated the French Renaissance by attracting many Italian artists to work on the Château de Chambord including Leonardo da Vinci), used the fire lizard (salamander) as his emblem (below).
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 its 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 found in many festivals, music, symbols and of course 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 associated with ‘red and blue’ are also connected to the ‘death cults’, trickster gods (Mercury, Hermes and the snake) 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 reality. 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 am delighted to announce my involvment, as one of the main speakers in the ‘Mysterious Earth Conference’ in the Cathar Country. The event will be over seven days in the Languedoc-roussillon area of Southern France. I have spent the best part of twenty years researching, traveling and connecting with the landsacpe and history of Le Pays Cathare.
Along with other authors, researchers and artists, we will be bringing you a first time ever ‘all inclusive’ conference in this very special part of the world. The event will be covering a huge range of topics, tours and presentations focused on Megaliths, Portals, Earth Alignments, Ley Lines, Renne le Chateau, Gnosticism, Art, Symbolism, ‘otherworldy phenomena’ and the history of the Cathar Crusade. More details can be found on the link at the bottom of the page.
The conference will be in the grounds of Hotel Eveché, the 14th century Chapter House (Episcopal Palace), in the Medieval town of Alet Les Bains. Nearest airports are Carcassonne (local and EU) and Toulouse (international flights).
To book your place (places are limited) and be part of a very special event in the Summer 2019.
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.