What is Gnosis, and what prevents humanity from achieving higher states of consciousness? In a 2 hour lecture, Neil Hague offers a personal insight, knowledge of the Gnostic Cathar, as well as the deeper symbolism connected to dualism and Orion Symbolism. The lecture looks at the origins of symbolism, consciousness and the plight of humanity as a whole.
Neil talks about the Archetypes and symbols of the Gnostics.
In Part One he shares his views on subjects such as – megalithic mysteries, the origins of the Gnostics, the Cathars, giants, gods, goddesses and the symbolism of Orion.
In Part Two Neil goes much deeper into the interstellar subjects connected to Orion, it’s symbolism, the Kaballa, Adam Kadmon, American Indian myths connected to Orion and how humanity needs to become a bridge between the earth and the stars.
Holy Week is upon us across much of the Western Hemisphere. A time when children are often taught to connect Easter’s Pagan origins with the Judeo-Christian belief in a savior god. A connection that uncomfortably tries to equate ‘a giant rabbit or ‘hare’ with a crucified Sun God. It’s a mad, ‘mad world’, especially when ‘State and religion’ would have children focusing on the ‘ritual killing’ of Jesus (the crucifixion), in one hand, and celebrating the return of a ‘giant bunny’ delivering chocolate eggs with the other. Giant bunnies, chocolate eggs, alongside the crucifixion story of course, is not found in the ‘holy book’ but nonetheless the modern world celebrates ‘Easter time’ with the same vigor as it does every other festival on the calendar.
All religion generally speaking, in my view, is ‘madder than a March hare’. No wonder that the ‘official stories and their associated festivals such as Easter, don’t make sense when you combine narratives and take stories ‘literally’. Mind you my local church is getting into the ‘pagan spirit’ by equating ‘hot cross buns’ with ‘six packs’ this Easter (see below). So, that’ll be a ‘half dozen’ Easter bunny eggs and ‘full dozen’ would give you ‘twelve disciples’ circling around a big ‘hot cross Sun bun’… Bless em. None of it makes much sense unless we venture deeper into the Pagan symbolism that ‘connects’ the cycles of the Sun and the Moon’ from our ‘earthly perspective’. In this blog I am going to weave together the main themes associated with Easter and as usual delve a little deeper into the symbolism. Grab yourself a ‘Babylonian bun’ and a nice cup of tea, it’s going to be a long blog.
The Sun Cross
Christians refer to the week before Easter as ‘Holy Week’ as it contains the days of the Easter ‘Triduum’, including ‘Maundy Thursday’ and ‘Last Supper’, as well as ‘Good Friday’ (not so good for some). Without going into great detail regarding ‘sun gods’, (as I want to focus on the ‘moon, hare and egg symbolism’), Jesus comes from a ‘long line’ of pre-Christian ‘Sun gods’ that were killed and rose again to redeem the sins of the world; See ancient Babylon, Tammuz, Bal and the Norse god Balder to name but a few. If one does the research, there is well over a dozen versions of the ‘Sun of god’ found all over the ancient world pre dating Christ. The sun-cross circle below is what connects the Sun and Moon to the main festivals marked by the Equinoxes and Solstices on what was and still is the Pagan calendar.
When one looks more closely at the religious symbolism associated with celebrations and festival such as Easter it becomes obvious to see the correlations of time being ‘marked’ through the various ‘stages’ of the Sun and the Moon in relation to how we ‘see’ life and our ‘time’ here on Earth. The three main symbols for the Sun, Moon and Earth (sometimes Venus) have all been worshipped for thousands of years at points on the calendar (see below). The eight pointed star of Ishtar is often found alongside the crescent (Sin) and the rayed solar disk (Shamash) in Babylonian iconography on boundary stones, cylinder seals. In the Christian version of Easter some ‘Boundary stones’ are still ‘marked’ or ‘hit’ with a broom or stick to this day in some English churches. It all makes sense when we ‘see’ that Easter came out the pre-Christian world.
Lunar-‘tick-tock’ Calendars (Moon & ‘Sun-Saturn’ Symbolism)
Easter and the holidays that are related to the Moon calendar are called ‘moveable feasts’ which do not fall on a ‘fixed’ date in the Roman Catholic inspired Gregorian or Julian calendars. These calendars instead follow the cycle of the sun with ‘irregular’ Moon days. Easter ‘time’ is determined through what is called a ‘lunisolar calendar’, which is similar to the Hebrew calendar. In 325 AD it was the Council of Nicaea that decided Easter would fall on the first Sunday after the ecclesiastical full moon or soonest after the Spring Equinox on the 21st March. Those ‘Pagan founding fathers’ of the Christian church knew how to ‘use the Moon’. Saturn (the ‘Dark Sun’) underpins the vibrational (invisible) structure given to us by the Moon and therefore the calenders are no more than a ‘Saturn-Sun & Moon vibrational illusion’. Or as authors like David Icke call the Saturn-Moon Matrix.
The Moon is the ‘marker of time’ (Saturn’s creation) and therefore gives us the illusion of time. The ‘white rabbit’ and his ‘pocket watch’ in Alice in Wonderland, for example, are all ‘symbols’ for the Moon, Saturn and the Goddess (Alice) in ‘wonderland’ – the illusion. Alice (the Goddess archetype) is ‘trapped’ by time in the Saturn-Moon matrix. In ancient Chinese and the Japanese calendars the hours were counted through animal names, and for these cultures the ‘artificial day’ began at six o’clock in the morning when the ‘Sun rises’ in the middle of what they called the ‘hour of the Hare’. It was the hour of the crossing between night and day. More on the hare and Rabbit soon.
Easter is also linked to the Jewish Passover (Pesah or Pesakh in Assyrian) through much of its symbolism, as well as by its position in the lunisolar calendar. Jewish people celebrate Passover as a commemoration of their liberation by God from slavery in Egypt thanks to Moses (Exodus). The Nehustan (the brazen serpent on the cross attributed to Moses) gives us more insight into the ‘Passover-Easter’ (Saturn-Sun) connection. The serpent symbolism refers to ‘chaos calmed’ and given a ‘new order’. Out of chaos comes Order and a New Age, a liberation by the said Moses or Jesus saviour figure. The ‘light of the world’ is renewed at Easter (spring time) and the saviour gods found in much ancient myth are symbols for this renewal on one level.
Interestingly Passover (Easter) arrives through first month called Nisan (or Nissan) on the Hebrew/Assyrian calendar, which is (April) in the ecclesiastical year. Nissan of course is the name of a car corporation and its symbolism clearly is another variation of the lord of time – Saturn. The crescent moon and the star (Venus) are also interchangeable with the old Sun (Saturn) and of course we have the Sabbath on Saturn’s Day (Saturday). The Passover is also one of the ‘three pilgrimage’ festivals during which the population of the kingdom of Judah would have made a pilgrimage to the Temple in Jerusalem. Today Samaritans still make this pilgrimage to Mount Gerizim, and along with Moriah and Zion they give us the ‘three’ scared mountains in Jerusalem. The number three will become relevant shortly.
The Goddess Ostara (Easter)
In ancient Indo-European myths ‘Ostre’ or ‘Ostara’ was associated with the ‘light of spring’ and the Goddess who brings the ‘new light’. She made the clocks go ‘forward’ so to speak. The Goddess Ostara is also linked to the festival of Easter, hares and ‘sacred eggs’. She is another version of ‘mother nature’ and the ‘awakening of the feminine’ principle behind the Sun’s light. In other forms she is known as Ishtar (star), Freyja and Anunitu, who on the Spring Equinox, was said to mate with the ‘solar god’ (the Sun) and conceive a child that would be born nine months (moons) later on the Winter Solstice. We all know who the child is supposed to be? The same poor child of the ‘Sun and the Moon’ gets nailed to Moses’s ‘Saturn cross’ every Easter.
The Mesopotamian (Akkadian, Assyrian and Babylonian) goddess Ishtar was another version of the ‘goddess of light’, among other things. She was also the ‘goddess of fertility’, love, war, sex and power. Ishtar, like Ostara, was said to have ‘two sides’, or ‘two natures’, both ‘creative and destructive’. Ishtar is also Aja (the eastern mountain dawn goddess) and Anatu (possibly Ishtar’s mother). She is also Anunitu (the Akkadian goddess of light), Agasayam (war goddess), Irnini (goddess of cedar forests in the Lebanese mountains), Kilili (symbol of the desirable woman), Sahirtu (messenger of lovers), Kir-gu-lu (bringer of rain) and Sarbanda (power of sovereignty). Both Ostara and Ishtar (same deity) are the goddess that ushers in the ‘time’ we call Easter. Astarte (English) Ashtaroth (Hebrew) are also the name for the Canaanite fertility goddess associated with the ‘beginning of spring’ and Easter. Astarte was also considered the goddess of the ‘underworld’ (Saturn’s domain) and her other name was El, the Queen of the underworld (see IS-RA-EL). Note that ‘ceremonial acts of war’ (terror) and the marriages of prominent blood lines seem to occur at the start of spring (Ostara) through to Walpurgis (Witches night) and Beltane (May the 1st). The pagan calendar of course is also ‘used’ by those follow Satanism, hence the endless acts of destruction we witness in the world conjured up by those in the shadows.
The Ancient Hare and Rabbit Goddesses
Another animal symbol for pagan lunar magic, nature and witchcraft is the hare. Many of the Goddesses mentioned above were either said to have a hare as a companion or could take the form of a hare. In ancient Egypt Osiris was sacrificed to the Nile each year ‘in the form of a hare’ (below left) to guarantee the annual flooding that Egyptian agriculture (and indeed their entire society) depended upon. A minor Egyptian goddess named Unut or Wenet (above right) also had the head of a hare. The hieroglyph ‘Wn’ (Wen) itself stands for the ‘essence of life’ and often depicts a hare over flowing water. The hare is often depicted ‘greeting the dawn’ (the ‘hour of the hare’) and she sometimes serves as messenger for the god Thoth. Sirius (Thoth), Lepus (Wenet) and Orion (Osiris) are the three main constellations that usher in the turning points of the autumn and spring equinoxes.
In Norse mythology, there was said to be a goddess before Odin (Saturn worship) replaced the Germanic tribal gods and goddesses. She was called Frau Holle, or Hulda, (above middle). Frau Holle was the goddess of the ‘wild hunt’, much like the goddess Artemis of Greece, and she was often shown with a large group of hares bearing torches ‘illuminating her way’. The hare as a hieroglyph signifies ‘the keeper of the ‘Great Mystery’ and was thought as a symbol of ‘becoming’, or ‘to be’. The hare’s ability to ‘disappear quickly’ was seen as a symbol for ‘states of awareness’ and transfiguration.
In some Native American myths, the hero Michabo or Great Manitou, was said to be the ‘great hare’ that brought knowledge to some of the American Indian tribes. Many North American tribes spoke of this deity as their common ancestor. Michabo was considered a personification of the Sun’s light, a life giver and his name compounded of ‘michi’ means ‘great’, and ‘wabos’, which means both ‘hare’ and ‘white’. The hare is a mammal that lives in solitude and can navigate the hours of darkness and is said to a have a ‘foot in two worlds’. Michabo of the dawn (or the ‘great white hare’) was considered the guardian of many Native American tribes. He was said to be the founder of their religious rites, the inventor of picture-writing and preserver of Earth and Heaven.
‘Destroy this Temple’, and I will make it ‘rise again’ in ‘three Hares’
Another version of Ostara (Astarte) is Hecate, the ‘triple headed goddess’ associated with ‘crossroads’, entrance-ways, light, magic, witchcraft, knowledge of herbs (poisonous plants), ghosts, necromancy and sorcery. The number three is a profound symbolic number that is found ‘everywhere’, from the triquetra (below), three primary colours, to the ‘three days’ the egg of the ‘queen bee’ takes to hatch. In numerology three is is considered to be ‘feminine’ and the Tarot card representative of the 3 energetically is The Empress (Hecate).
Three is also the ‘Trinity’ and these are the three aspects of Shin in the Kabbalah whose ‘three wicks’ are a symbol of the ‘holy trinity’ through the letter Shin (below right). The god Brahma of Hindu belief also provides symbolism of the Trinity, ‘three heads’ and the egg. I’ll come back to the egg at the end of this blog.
In many uses of numerology and ancient belief, three is an important number for ‘creating reality’ and ‘manifestation’. The symbol of the ‘three hares’ (below) found at sacred sites from the Middle and Far East to the churches of Devon are all versions of Hecate’s (Ostara’s) ‘power of manifestation’ and ‘renewal’.
The Italian Renaissance painter Andrea Mantegna, a Knight from a ‘bloodline of painters’, depicts the ‘three hares’ in his masterpiece, The Agony in the Garden (1458-60). The full painting shows angels bearing the Instruments of ‘the Passion’ appearing to Christ in prayer. Three disciples sleep, with ‘three’ hares at their feet and in the background Judas comes with soldiers to arrest Christ. The symbolism, which was obviously known to Mantegna (and the elite) relates to the ‘Trinity of the Church’ that would be born out of the Passion. The painting also relates to fertility, lunar cycles and the ‘goddess of renewal’. The Triskele symbol below carries the same meaning.
The ‘ears of the hares’ form a trivium (or trapezium), which in 3D is a tetrahedron (above right). The tetrahedron (the first of five geometric platonic shapes that are said to construct reality), is a symbol of ‘creation’, ‘fire’ and ‘renewal’. The Vesicae Piscis is also formed by the ‘three ears’ and the same shapes give us the spinning Mer-Ka-Ba (Star tetrahedron) or ‘vehicle of light’ (above right). The symbolism of ‘new life’ and ‘renewal’ entwined in the story of Christ (who was said to baptize with ‘fire’), quite clearly comes from the Pagan understanding of the ‘goddess of light’. The goddess who could see three ways simultaneously and use the ‘light’ to change the illusion. So can we if we tap into this unseen power.
Another version of Ostara also found in Norse Mythology is the goddess Freyja who is associated with love, sex, beauty, fertility, gold, war and death. Freyja is the owner of the ‘necklace Brísingamen’, she rides a chariot pulled by two cats, she keeps the boar Hildisvíni by her side, possesses a cloak of falcon feathers and is accompanied by dwarves. Freyja and her ‘seven dwarfs’ are symbols for the ‘seven days of the week’ which construct the Lunar month (Snow White), seen below in their ‘spring time’ kingdom. Snow White is Freyja and Ostara combined and the symbolism especially through colour relates to the feminine archetype, duality and light of ‘eternal spring’.
The evil queen (the dark archetype) in Snow White, along with the innocent magical goddess that over throws the queen, can also been found in Lewis Carroll’s books Alice in Wonderland and Through the Looking Glass. All are stories that use goddess symbolism associated with ‘moving between’ different realities, just as the Earth’s Equinoxes and Solstices are markers between changing worlds. The Chinese ‘Moon Goddess’ Chang’e comes to mind.
The Easter Moon Rabbit (Hare)
The moon rabbit in folklore was said to be a rabbit that lives on the Moon, some say, based on the pareidolia that identifies the markings of the Moon as a rabbit (see below right).
Stories exist in many cultures, prominently in Asian folklore and Aztec mythology of a Moon rabbit. In East Asia, the rabbit is seen pounding in a mortar and pestle (below left), but the contents of the mortar differ among Chinese, Japanese, and Korean folklore. In Chinese folklore, the moon rabbit is often portrayed as a ‘companion’ of the Moon goddess Chang’e, constantly pounding the ‘elixir of life’ for her. The elixir could relate to the ‘egg’ and how life is created through DNA. In Japanese and Korean versions, it is pounding the ingredients for rice cake. Maybe the inspiration for the ‘cake’ Alice eats in Wonderland? More on Alice in a moment.
In other Asian myths Sun Wukong fights the ‘Moon Rabbit’ (above middle), a scene in the 16th century Chinese novel Journey to the West, depicted in Yoshitoshi’s One Hundred Aspects of the Moon (1839-1892). In the Buddhist Jataka tales, a monkey, an otter, a jackal, and a rabbit resolved to practice charity on the day of the ‘full moon’ (Uposatha), believing a demonstration of great virtue would earn a great reward. When an old man begged for food, the monkey gathered fruits from the trees and the otter collected fish, while the jackal wrongfully pilfered a lizard and a pot of milk-curd. The rabbit, who knew only how to gather grass, instead offered its own body, throwing itself into a fire the man had built. The rabbit, however, was not burnt. The old man revealed himself to be Akra (Lord of Heaven) and, touched by the rabbit’s virtue, drew the likeness of the rabbit on the Moon for all to see. It is said the lunar image is still draped in the smoke that rose when the rabbit cast itself into the fire. The same story of the Moon god sacrificing itself in the solar fire can be found in Hopi, Mexican and Mayan myths, not least in the stories of Quetzalcoatl. ‘Cotton tail’ in Hopi myth was a god born of the Sun and the Moon after jumping into the solar fire. Many of these stories are symbolic of the upheavals that took place in the heavens.
Contemporary video games and comics seem to contain symbolism that relate to the Moon rabbit. In the 2000 video game Dark Cloud, the ‘Moon People’ are revealed to in fact be anthropomorphic rabbits. In the Nexon game MapleStory there is a party quest that involves protecting a ‘Moon Bunny’ while it produces rice cakes. In the 2014 game Destiny, the Jade Rabbit is featured as both an emblem that can be acquired on the Moon, as well as a primary weapon exclusive to PlayStation 4 owners.
The Goddess & the White Rabbit
Celtic myth talks of the goddess Cerridwen who represented the human cycles of ‘birth’, ‘life’, ‘death and rebirth’. Cerridwen was another Moon Goddess associated with the Hare. In one legend the hunter Ossian was said to have wounded a hare forcing it find sanctuary in a thicket. When Ossian followed it he found a door in the ground that led to vast hallway and in that ‘underground kingdom’ he met a beautiful woman sitting on a throne, bleeding from the leg. Tales like this are plenty in the pre-Christian world and hint at metamorphosis.
Japanese myth also tells of the Hare of Inaba and the goddess Amaterasu and her search for a place for their palace or kingdom. Like the white Rabbit in Alice in Wonderland, Inaba suddenly appears to point the way to Amaterasu (see below). According to the folk tale, the white hare bites Amaterasu’s clothes and takes her to a ‘otherworldly’ location to look for a temporary palace at Nakayama Mountain and Reiseki Mountain. The ‘mountain’, the ‘Goddess’ and the ‘white hare’ are all symbols for the ‘Moon’, ‘time’ and ‘forces that create the collective world reality’.
The white rabbit often appears in 15th Century Renaissance paintings to symbolise the connection between the goddess, the oceans and the Moon. Other meanings relate to venus, love and the ‘duality’ of male and female, as shown in the painting Venus, Mars and Cupid 1490 by Piero di Cosimo (below). It shows cupid lying on Venus next to a white rabbit. The lovers (Venus and Mars) are exhausted by their sexual activity (cupid) and the white rabbit is the symbol for ‘timelessness’ brought on through sexual excess. Moon, Mars and Venus ‘alignments’ have been linked to upheavals on Earth. See the work of Immanuel Velikovsky.
The idea of rabbits as a symbol of ‘vitality’, ‘rebirth’ and ‘resurrection’ clearly comes from the Pagan world and the Italian masters must have known this when they made such ‘Christian works of art’. They were having a laugh! The elite painter Titan in his work, Mary and Infant Jesus with a rabbit (below), is clearly alluding to the Pagan knowledge associated with the goddess and the white rabbit/hare. The painting of St. Jerome reading in the countryside, by Giovanni Bellini (below left) with a white and brown hare/rabbit clearly relates to the power of ‘solitude’ (the hare) and the world that would await the hermit once he leaves the cave to ‘follow the white rabbit’. Jerome was the ‘founding father’ of the Christian Church, (often shown in Saturn red with the lion), instead here he is depicted as the hermit in the wilderness.
The character Neo in the Matrix movie is also shown the ‘white rabbit’ as a way out of his illusionary ‘solitary’ world so he can meet the ‘god of the dreamtime’ – Morpheus.
The Trickster Hares
Many native cultures saw the hare as a trickster and shape-shifter. The hare appears in English folklore in the saying “as mad as a March hare” and in the stories of a witch who takes the form of a white hare and goes out looking for prey at night. The Br’er Rabbit stories are loosely related to the trickster element of the rabbit and hare. Cottontail was a symbol for both the ‘hare’ and ‘time’. Interestingly, the hare was said to be a ‘child of Pan’ and in many myths the hare was wrapped in ‘goat’s skin’. Of course the ‘hare’ and the ‘Moon’ are symbolically connected as I’ve shown. The hare also takes on the role of a ‘demiurge’ in some myths and this aspect is connected to the ‘egg’ as we shall see.
African folk tales told by the Namaquas relate the story of phases of the moon with the idea of immortality, alternate disintegration and reintegration, decay and growth repeated perpetually. Even the ‘rising and setting of the moon’ was interpreted by them as its ‘birth and death’. They say that a long time ago the Moon wished to send to mankind a message of immortality, and the hare undertook to act as the messenger. So the Moon charged him to go to humanity and say, “As I die and rise to life again, so shall you die and rise to life again.” It is said that the hare ‘reversed’ (inverted) the message (so life became death) and humanity instead ‘focused on their mortality’.
Kit William’s Book Masquerade (1979) relays the ‘trickster element’ of the hare. The book’s objective, the hunt for a valuable treasure, became his means to this end. Masquerade features ‘fifteen’ (Saturn’s number) detailed paintings illustrating the story of a ‘hare’ named Jack. The boy Jack seeks to carry a treasure from the Moon (depicted as a woman) to her love object, the Sun (a man). On reaching the Sun, Jack finds that he has lost the treasure, and the reader is left to discover its location of the ‘golden hare’. The author Kit williams must have been inspired by the pagan myths associated with the Sun, the Moon and the hare?
The púca (Irish for spirit/ghost), pooka, phooka, or púka is primarily a creature of Celtic folklore. A púca was considered to be a bringer of both good and bad fortune, they could either ‘help or hinder’ communities. These creatures were said to be ‘shape changers’ (shape-shifters) that could take the appearance of black horses, goats and hares. They could also take human form with ‘animal features’, such as long ears. According to legend, the púca can assume a variety of terrifying or pleasing forms. No matter what shape the púca takes, its fur was almost always dark. I have personally witnessed a púca of sorts manifest in front of me in a Tudor house/hotel many years ago, in the form of a black panther.
Another creature called a Koschei, similar to the púca, was said to be able to use magic and could not be killed by conventional means. In various folklore the Koschei’s soul was hidden separate from its body, through ‘talisman’ and other ‘animate objects’. The soul could be inside a needle, which is inside an egg, which is in a duck, which is in a hare, which is in an iron chest, buried under a green oak tree, which is on the island in the ocean. The soul of the Koschei is not dissimilar to the concept of Sauron in Tolkien’s Lord of the Rings, whose essence of being was ‘contained’ within a ring that was ‘connected to’ other rings, etc. Legends say that anyone ‘possessing the egg’, for example, has the Koschei in their power. If the ‘egg’ is tossed about, the Koschei likewise is flung around against his will. If the needle is broken, Koschei will die. When the ring is destroyed so is Sauron’s power, etc, etc. The Magic associated with the Koschei is that of an ‘invisible form’ that could ‘move through different realities’. The hare (and white rabbit) symbollically speaking were said to be able to move through different worlds and become ‘timeless’.
In other folklore and legends we have mythical hare’s that are ‘hybrid creatures’, such as the Lepus Cornutus and Al-mi’raj (an Arabic mythical unicorn hare (below). In Bavarian folklore there are stories of the wolpertinger (also called wolperdinger), a mythological hybrid hare allegedly inhabiting the alpine forests of Bavaria and having antlers (below left).
The Primordial ‘Easter Egg’ of fire
Another symbol of Easter is the egg of course, which is a universal symbol for birth and ‘new life’. The ‘primordial egg’ holds the seed from which the whole of manifestation was said to ‘spring’ from. The idea that the universe was ‘born from an egg’ is shared by nearly all ancient civilizations and cultures. The ‘primordial man’ was also said to originate from an egg, see William Blake’s image of the Four Zoas (below). The egg is symbolically the ‘boundary of the restriction’ of ‘matter’ for the human being, and here is shown surrounded by the four bodies of the mind, emotions, senses and imagination.
The cosmic egg, born from primordial Waters, in some myths, splits into two halves to give birth to Heaven and Earth (Symbolised as Adam and Satan in Blake’s image), or as the Hindu Brahmânda and the ‘two Dioscuri’ in Greco-Indian myths. In Hindu mythology, Brahma – the omniscient, the source of all that exists, forms out of the golden embryo and egg. According to Hindu belief, he was the self-born ‘uncreated creator’, the first manifestation of the one’s existence. As the embryo from which the universe originates, he is also called Hiranya Garbha (golden embryo), the ball of fire. Other names for the ‘egg god’ were Pitamaha (the patriarch), Vidhi (the ordinator), Lokesha (the master of the universe) and Viswakarma (the architect of the world). The ‘architect’ of course connects to Gnosticism, Masonry and the imposter creator – the Demiurge.
The egg also signifies the polarization of the Hermaphrodite in some instances and was a symbol for the beginning of life. For the ancient Egyptians, ‘life emerged’, by the action of a ‘Demiurge’, through the ‘Nun’, (the personification of the primordial Ocean) that ‘gave birth’ to the egg. Chinese legend tells of how an enormous ‘black egg’ was formed in the darkness at the beginning of time. Inside this egg, the sleeping giant Pan Gu was formed (below left). Likewise, Hanuman the monkey king was said to be born of primal chaos, hatching from a ‘stone egg’ impregnated by the sky and the Gnostics also talk of Heaven and Earth, symbolised by the ‘world egg’ in the womb of the universe. Not a crucifixion in sight here folks? Just a human (light being) born of the cosmos.
The Egg as the Soul
In terms of symmetry, astronomy and sacred geometry the egg has been used by alchemists to depict the ‘cycles within cycles’ and the ‘relationship’ between the Earth the Moon and the Solar System. The elite Elizabethan occult magician Dr John Dee, likened the origin of the planets to the metamorphosis of an egg made up of the four elements (the Zoas), which a scarab beetle brings along a spiral path. Dee referred to the ‘egg white’ as the work of the Moon (Saturn) and the ‘yoke’ the Sun (Jupiter).
The Druids saw the egg as the ‘sacred emblem’ of their initiation rites, hence the importance of the egg in spring (at Easter). The procession of the Goddess of agriculture, Ceres, in Rome, was preceded by an egg and it was often depicted entwined by a serpent or crowned by a crescent moon. The illustration below shows two ways the druids (Priests) represented their sacred eggs.
In the mysteries of Bacchus in ancient Greece the egg was a consecrated emblem that symbolised the ‘soul’ and this symbolism was portrayed in the move Angel Heart, when Louis Cyphre (Lucifer), played by de Niro peels an egg and eats it as a symbol of the ‘consumption of the soul’.
The eye and egg are another symbol for the ‘theft of the soul’, or the visionary limits of ‘perception’ placed on humanity by the Demiurge. All over the ancient world, from China to Babylon, the egg was also painted, and venerated as symbol of ‘re-birth’ and the ‘soul’. The ‘soul of humanity’ ‘captured’, ‘bound’ or ‘eaten’ is a common theme through the use of the ‘symbol of the egg’, see my Illustration below (middle).
The ‘alchemical Modena’ relief (above left) also symbolises both the ‘world’ and the ‘egg’. Inside the egg (Modena), Mithras or Phanes (the light of the world) emerges with his lighted torch surrounded by a mandorla of the zodiac (corresponding to the twelve ‘altar fires’ in the Pythagorean cult). The mandorla can also represent the vulva, and thus the arrival of a ‘new being into the world’ through the goddess. The mandorla is also a sign of union, climax, opening and departure into a new life. Not a Christian theme insight here!
‘Born’ of the Easter Egg
The reptilian symbolism associated with the egg is obvious and it could be that the ‘Babylonian religion’ that originally gave us Easter, relates to the reptilian deities that were ‘openly worshiped’ by the Akkadian and Sumerian mystery schools. The connections between reptilian gods and a new human made in the ‘likeness of the gods’, can be visually understood through the symbolism of the egg. Renaissance artists that were in the know, often used the egg as a symbol for the ‘new human’ born of a goddess.
Hieronymus Bosch’s painting ‘Concert inside an Egg’ depicts his knowledge of alchemy, the philosophical Egg and the ‘light that can be seen with the ears’ (below left). The ‘light’ is the electromagnetic forms that the brain translates into pictures and sounds, hence the light that can be seen with the ears. Bosch also includes humans that are ‘entering into’ an egg in his masterpiece ‘Garden of Earthly delights’ painted in the 15th Century. The strange creatures and imagery contained within the scene are reminiscent of reptilians/greys and naked humans (Adam and Eve prototype) of course are ‘being born’ in reverse, or being ‘encased’ in the egg – through the limitation of their DNA. The egg is also a symbol for the Moon and its control over our biological bodies’.
In paintings by lenaordo Da vinci and Bachiacca (below) the Greek myth of Leda and the Swan (a bird that symbolised Venus) uses the symbolisim of the children ‘born of an egg’ (just as reptiles are). The egg and its nest are also symbolic of the goddess and the word for nest, ‘shechinot’, in Hebrew is virtually the same as shekinah which means the ‘feminine glory of God’ come to ‘dwell on earth’. It literally means ‘dwelling’ or ‘presence’. Interestingly the hare also builds a ‘form’ which looks like a ‘birds nest’, another ‘visual idea’ that could have given life to the ‘Easter egg’?
In the Leda and the Swan myth, Zeus takes the form of a swan and seduces the goddess Leda, whose offspring, Castor and Pollox, are born as ‘hybrid humans’, part-god, part-human. The myths and paintings showing these narratives are hinting at the ‘copulation’ of ‘non-human’ with ‘humans’ in the ancient world. The egg symbolism, at Easter is in many ways, is a symbol for this knowledge, which was understood by the mystery schools of antiquity.
A New World Egg (Order)
On another level the egg is a symbol for a ‘new world’. Salvador Dali painted Geopoliticus Child Watching the Birth of the New Man (above right) during the Second World War. A painting that clearly symbolizes ‘change’ and a ‘new world’ being born. Dali’s initial notes for the work read: “parachute, paranaissance, protection, cupola, placenta, Catholicism, egg, earthly distortion, biological ellipse. Geography changes its skin in historic germination.”
Dali’s words offer some hint of the work’s meaning. At the bottom right of the painting, the gaunt body of a classical figure, symbolises the ‘old world’ and its emaciated civilization, revealing a central scene to a child, who peeks at the male figure struggling out of a terrestrial globe, distorted into the shape of an egg. This surreal scene is emblematic of the emergence of a ‘new political order’ after the war. The central scene of global rebirth is protected by a parachute-like floating cupola that, when seen in conjunction with the cloth at the bottom, forms an ‘oyster-like shape’, another symbol for the Moon and the Christian Kingdom of Heaven. The emerging figure bursts out from the North American continent, which Dali saw as a centre of ‘historic germination’ (the growth of the new world order). The alchemical ‘great work of the ages’ is also connected to the philosophers egg and much more besides.
Personally, I always see Easter time as a period of ‘transition and renewal’, a time for ‘new ideas’ and ‘new beginnings’. William Blake’s image of a winged infant emerging from a cracked egg also hints at the awakening themes mentioned above. Blake had no time for orthodox religion and was aware of the Pagan roots of Christianity. The image is one of many from his collection of writings and drawings called The Gates of Paradise and this one in particular shows a ‘hatching’ of a winged infant (or cherub with Blake’s face) breaking free of the confinement imposed by the egg. According to Blake ‘the child becomes acquainted with the functioning of his mind through four spheres (the Zoas mentioned earlier) of the body, mind, imagination and emotions’. These bodies ‘give form’ to the ‘egg shape’ and signifies mankind’s ‘limited field of vision’. Writing in 1793, He said,
“An immense/Hardened shadow of all things upon our vegetated Earth, /enlarged into dimension and deformed into indefinite space”. After his death, man tears this “veil of nature” which freezes all life”
If anything, Easter is the festival of visible ‘new light and life’ and the symbolism behind the ‘Moon Egg’, the ‘Hare’ and the ‘Goddess’ are the core symbols for this time of year.
Until next time
I have now completed the last painting from a series of lion images that have brought me full circle in terms of my work. It’s 21 years ago that I started out on my path as a visual artist/Illustrator, on a so-called ‘spiritual journey’ that introduced me to some of the most interesting people. Many connections have ‘come and gone’, just as my art has changed over the decades. From the early metaphysical years in London, to the ‘stagnant years of Cornwall’, it’s been a crazy ride with many highs and lows. Believe it or not, there seems to be less support now for my art than there was 6 years ago, despite the ‘rising interest’ in certain authors work that I have created imagery for.
The image in this blog (above) came out of a dream I’d had earlier this year. It made me ‘reflect’ on sketchbook images too that related to similar themes. Eventually this led to research (as always) into the ‘visual nature’ of the forces that ‘shape our reality’. I gave a small lecture at the Rudolf Steiner House in London (March 2016), where I looked at some of these ideas and the thoughts I’d had in relation to the ‘invisible force’ that manipulates our ‘world perception’ – our world view’. The canvas above is a simplistic combination of symbols that capture the essence of these forces. In this blog I’ll try to explain how and why these symbols relate to each other.
Sophia and the Dreaming
The painting (above) is purely symbolic and considers the Gnostic teachings of the Pleroma, or what the thousands of years old Nag Hammadi texts called the abode of the Æons – the place of eternal ideas or archetypes. Click here for more on the Gnostics and the Nag Hammadi library. From my art and research, the Pleroma is the ‘living plasma’ (the electric universe) that constitutes the mass of our living Universe. The word also means ‘fullness’ or ‘plenty’ and relates to what the Native Americans called the ‘field of plenty’ – the place where all that we need to live comes from. The cornucopia is another symbol for the ‘field of plenty’ and can be found on Banks and Stately homes of those that control the ‘field of energy’. In simple terms, the Pleroma is ‘living electromagnetic consciousness’. Everything is alive and can take multiple forms. As the physicist Wallace Thornhill writes in Electric Universe, “We can detect magnetic fields in space which, according to Maxwell’s equations, means electricity must be flowing in space to produce them. It is impossible to have a magnetic field without moving electrons. Electrons only move in response to charge imbalance. Once an electron is moving, we have an electric current.”
The Gnostic texts say that the Aeons that dwelt in and beyond the Pleroma were separated from this celestial region by Horus (or Boundary) and beyond its veil lies what they called the ‘Kenoma’ or the ‘void’ – the kingdom of this world reality. Humanity was said to have been created out of the meeting of these forces, to be godlike (Aeon-like) with a powerful tool at our disposal – the divine Imagination.
An Aeon called Sophia (wisdom in Greek) aided by Thelete (intent in Greek) dreamed her existence into the realms of the Kenoma and in doing so, created what the Aboriginal cultures call the ‘Dreamtime’ (a creation epic that predates all Biblical creation narratives by tens of thousands of years). You will notice some correlations between the three worlds of Gnostic myth (Pleroma, Human/Sophia and demiurge and the Dreamtime mythology (below). All three worlds collide within the human world.
As the Goddess Sophia dreamed, its said that she fell further into the void and awoke within a ‘nightmare’ as her impact on the outer veil led to the ‘emergence’ of ‘in-organic’ elementals named Archons (Jinn). The Gnostic texts say that the Archons circled and swooned around the chaotic fields that were formed by ‘Sophia’s fall’ into the Kenoma ( her coma).
According to this myth the world we inhabit is created through ‘thought’, (the region of ‘matter made manifest) and material things’. It was the land of shadow and darkness, a place where ‘perception and deception’ would coexist to form our realty. According to the Gnostic texts, Sophia eventually took physical form as Gaia (The Original Earth) and her daughter was called Zoe (the Imagination). While the Demiurge and the Archons built their replica Earth Matrix, (using other electromagnetic bodies known as Planets and Suns), an illusionary construct (flat or otherwise), was made to perfectly ‘mimic’ the original earth reality. The Gnostics say that humanity is caught up between two realities, the ‘original Earth’ and the one created out of what the Gnostic texts call HAL forged by its ‘Creator’ – the Demiurge (or God of Genesis fame). On Earth the Archons are the ‘genies in a bottle’, phantoms that can take many forms through fire and water, so to be let loose or to be commanded. Just as one was summoned at the “Gate of the Gods” at Hayu Marca, Peru by those that travelled with David Icke back in 2012 (see below). I witnessed first hand the appearnce of the Jinn (genie) that ‘possessed’ that ancient place.
Once loose, they can and do influence the illusionary world for those that ‘communicate with them’. See all ‘magicians’ from Dr John Dee to Crowley, from the Temples of Egypt to the Satanic elite.
According to the texts the illusionary world (our Galaxy) had its Creator or king. The creator of this world was called the Demiurge, a deity that was eventually called God by the priesthoods of the Near and Middle East religions; and according to the Gnostic texts, ‘he’ is the angry, ‘demented’, impostor God that envys the human divine imagination and humanities connection to the Goddess Sophia. ‘He’ is the beast often depicted as a ‘rampant lion’ whose minions became the ‘in-organic’ Archons that were supposedly ‘birthed from the chaos caused by Sophia’s ‘fall through the Pleroma’ (the source of all-that-exists).
As John Lash writes in his book, Not in His Image;
“And Sophia desired to cause the thing that had no innate spirit of its own to be formed into a likeness and rule over primal matter and over all the forces she had precipitated. So there appeared for the first time a ruler out of chaos, lion-like in appearance, androgynous, having an exaggerated sense of power within him, and ignorant of whence he came to be.” (The Apocryphon of John)
My intuitive side, along with my ‘visual research’ in recent months, is showing me that the ‘fall of Sophia’ in the Gnostic texts, hints towards the Nebula of Orion and how it was part of that ‘falling process’. The blue prints for duality and the seperation splashed through Orion and into the minds of humanity. Our unique connection to the Orion Nebula and how it links into the fall of Sophia, along with the coming of the Aeon Christos, (to aid her in her creation process), is often found in ancient sources. The Aeons Sophia and Christos are the original blueprint for the Gods and Goddesses all over the ancient world. Today, the movie industry, not least certain directors and producers (many of which are Zionists) also encode their narratives with versions of the Sophia and Christos mythology. Why? Because it is the original ‘blue print’, a powerful connection to the infinite source, beyond the Kenoma and also represents the coming awakening of Ariel (the Lion of God), in their zionist minds. The Jewish Wachowski’s Matrix movie has it all in ‘three’ parts. Zion is saved and Sophia and Christos are ‘sacrifced’ for this worthy cause.
Son of Man – Orion (cross of changes)
Our connection to the Orion constellation is monumental and can be seen in the mapping of native ‘first peoples’ towns and Mesa’s, to the aligment of pyramids across the Earth. From Nazca to Giza, Orion is aligned with much of the ancient religious centres! More so, I would go further and say that the ‘invisible forces’ that ‘illuminates’ our form, a bioogical body that may have been ‘star seeded’ ‘via’ Orion, hence the focus on its ‘Kingship’ (Kin=blood) in many ancient ‘alien-like’ civilisations. See the Hopi and the Egyptian dynasties for starters. The Hopi god Masau’u is Osiris of ancient Egypt and these ‘Son of Man’ deities are symbols of Orion, implanted in the minds of priests and shamans in different locations. The Pineal gland, ‘Odin’s eye’, through to the symbolism of Golgotha (the place of the skull), connects to this template. Along with memory and thought (the two thieves) flanking the ‘Son of Man’, all allude to the life and death forces connected to the constelation of Orion. In Tiahuanaca, Bolivia (a place I visited in 2012), the palaces with underground pyramids, along with surface pyramids are dedicated to the South American version of ‘the Son of Man’ – ‘Lord Viracocha’, (another Osiris). The H-symbol of Orion’s belt, the number 8 (a symbol of Saturn), the spider (with eight legs), the swastika symbol, the Ankh-cross-symbol and ‘T-statues’, all relate to Orion and humanities connection to the forces that worked through this location of the Pleroma. Some researchers also talk of Venus coming out of the Orion Nebula?
Dany Wilten an American analyst, alchemist, symbolist, & hermeticist has produced some outstanding work on the correlations of Orion and the knowledge of the human anatomy and hemispheres of the brain found encoded in the works of artists like Michael Angelo, long before any telescopes had been used to study nebula’s. See the amazing work (below) of Danny Wilten.
The Demiurge is a chimera-like vibration
In the Nag Hammadi, the Gnostics describe Yaldabaoth as Ariael, another variation of the angel Ariel (or Ariael), which means “Lion of God” or “Hearth of God”. The Apocryphon of John, a work heavily quoted by John Lash in his excellent book ‘Not in his Image’, describes the Demiurge as a ‘dragon-like lion’ (a beast). The beast is the Chimera, a ‘virus’ made manifest that infested our world to replicate itself through the human mind. It is the ‘beast within’, a ‘persona’ (a mask) of the Demiurge, the ‘phantom self’ (see David Icke’s book of the same name), for those that are unkowingly possessed by the chimera, if they allow it to be the overriding force.
Again the Gnostic texts allude to the demiurge and the veil between the spirit and material world;
A Veil exists between the world above [in the galactic core], and the realms that are below [exterior, in the galactic limbs]; and shadow came into being beneath the veil. Some of the shadow [dark mass] became [atomic] matter, and was projected apart [partially formed into elementary arrays, the dema]. And what Sophia created [by her impact] became a product in the matter [the dema], [a neonate form] like an aborted fetus. And [once formed] it assumed a plastic shape molded out of shadow, and became an arrogant beast resembling a lion. It was androgynous, because it was from [neutral, inorganic] matter that it derived.
Hypostasis of the Archons (II, 4:93.30 ff)
Note the word androgynous, which is connected to the obessesion with ‘no gender’.
The Hypostasis of the Archons explains that they (the archons) created seven powers for themselves, and these powers created ‘six angels’. One of the angels is called Sabaoth (the Lord of Hosts) who was said to have “a dragon’s face”. Sabaoth became the Ring Lord, Sauron or Saturn.
John Lash equates Saboeth with our Sun, but the Apocryphon of John says: “the sixth one is Cain, whom the generations of men call the ‘fallen Sun’.” This fallen Sun is both Helios and Saturn, Prometheus (the young) and Kronos (the old). See the Rockefeller Plaza in New York, it shows both Prometheus and ‘Ancient of Days’ (Saturn) in one location. Saturn with its artificial rings and therefore distorted sound (vibration) is let loose and bypassed by connecting our hearts and minds to the original infinite source (the Aeons) beyond the Kenoma. The Lord of Hosts, ‘Saturn with its rings’ is holding the Illusion in place. I feel that Orion held sway over the original ‘ring less’ Saturn (the old Sun of Orion) and this idea is symbolised in my painting Ariel – The Lion of God. A harmonised man and woman, connected through their heart will naturally by pass the ‘rings of constriction’ imposed via Saboeth and the Moon (Sin). I illustrate this idea in more detail in my graphic novel Moon Slayer.
On the left of my painting I show the creation of man and woman (Adam and Eve) as a fusion of the Pleroma of Orion and contained by the creator god Atum, who is also Adam (Osiris). Adam coupled with an aspect of Sophia (Isis/Eve), they form a trapezium (a trinity) along with the solar/stellar consciousness called Rigel, the brightest star in the constellation Orion, (not to be confused with Regulus in Leo). Rigel is the ‘seventh’ brightest star in the night sky and relates to the seventh Chakra (the crown). In the constellation of Orion, Rigel was also known as (Altair) and probably goes back to the ancient Babylonians and Sumerians, who called Aquilae (Altair) the eagle star; A topic I am currently looking at and writing about in much more detail for my Third Book of Kokoro – The Eagles of Atlantis.
In the centre is a calm, almost meditating Lion (Ariel), which means “lion of God” in Hebrew (Shakespeare used it as the name of a ‘spirit’ in his play ‘The Tempest’). Ariel is also another word for the ‘city of Jerusalem’, not IS-RA-EL, but the ancient location. A place I firmly believe to be in the heart of all human beings. The ‘presence of Ariel’, with the Lord Archon at its third eye, is bringing forth the separation of man and woman. It is also a symbolic rendition of the two sides of the brain (left and right hemispheres). Here Ariel is portrayed as a force that has the ‘opportunity’ to change human destiny and is ‘sleeping’ for the moment (dreaming), showing our world to be created through pure imagination. In my image the ‘Lion of God’ is caught up in his own pride, on one level, but is also ‘contemplating the existence of something greater than him’. Jerusalem is not yet awake! It will be. But the the Lord of Hosts at Ariel’s third eye is manifesting the ‘prison like worlds’ (the egg shell) that encases humanity in ‘emotional thoughts’. The Moon was ‘taken’ and used for soley for this purpose by the Archons. The Moon is the egg (eye) in the sky’ that harmonizes the ‘auric egg’ and the ‘prison of the mind’ that surrounds the physical human form. William Blake’s Book and image of the Four Zoas shows this concept of the ‘energetic egg’ perfectly (see below). Replace the word ‘Satan’ with ‘Saturn’ and it makes more sense. Orion ( or Adam), with Saturn and the ‘four points of the cross’ (the intersecting circles) all construct humanities ‘reality’ (through Imagination, thoughts, emotions and the physical form).
In my image stands a single tree (symbolic of the Seraphim and watchers of old). The path to the Watcher stretches across the ‘Lion of God’ while his shoulders represent Mt. Zion and Mt. Moriah. Both mounds offer the structure for the Zionist blueprint for the world (New World Order), unless humanity stirs from its slumber. Watch what happens very closely in Jerusalem? My creative intuitive side seems to ‘know’ that we are going to see much focus on Jerusalem in the next few years. The Lion of God is not what it seems and as I have shown in my illustrated stories, the lion consciousness is the truth vibration (an invisible fire) that rises out of the heart of humanity. It forces us to ‘see all-that-there-is-to see’ at this time. The spiritual fire is ever present in my art – it is there for those that can ‘see’. While making this image I was reminded of the quote from Isaiah 29 – The Cause and Cure of Spiritual Blindness
- The coming distress upon Jerusalem. 1. (1-4) The Lord humbles a proud Jerusalem.
“Woe to Ariel, to Ariel, the city where David dwelt! Add year to year; let feasts come around. Yet I will distress Ariel; there shall be heaviness and sorrow, and it shall be to Me as Ariel. I will encamp against you all around, I will lay siege against you with a mound, and I will raise siege works against you. You shall be brought down, you shall speak out of the ground; your speech shall be low, out of the dust; your voice shall be like a medium’s, out of the ground; and your speech shall whisper out of the dust.
In Romans 13:11 written to the Christians:
And do this, knowing the time that now it is high time to awake out of sleep; for now our salvation is nearer than when we first believed. Christians need to be awake, especially knowing the time!
I would say all people need to awake and speak out, no matter what you believe.
As I said at the beginning of this blog, the painting is the ‘beginning and the end of an era’ for me in terms of making this kind of art. I’am going back to school ‘metaphorically’ to see what other ways and methods I can come up with. I may go very quiet, hermit-like, maybe write another smal book based on this blog? But I would like my work to be ‘out there more’, especially physically (exhibitions, etc). If anyone would like to organise an exhibition, or talk, get in touch. Let’s raise the vibrations together.
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