Orion & Eve in ‘Gan Eden’ Amongst the Stars

Orion & Eve
© Neil Hague 2018

A lot of my art is symbolic and considers the cosmological perception of reality. The general name for the mystics who pondered on the nature of the cosmos, creation and the ‘nature of reality’ were the Gnostics. One famous source for Gnostic teachings came from a series of manuscripts called the Nag Hammadi texts and the Dead Sea Scrolls, found near the town of Nag Hammadi about 75-80 miles north of Luxor on the banks of the River Nile, in Egypt. These texts generally became known as the ‘lost gospels’ of the Nag Hammadi Library. The Nag Hammadi find included thirteen leather-bound papyrus codices (manuscripts) and more than fifty texts written in Coptic Egyptian, which were the work (along with other ancient influences) of a people known as Gnostics (see image below). The Gnostics were not a racial group. Their ideaology was as a way of ‘perceiving reality’ under the heading of ‘Gnosticism’, which comes from the term ‘gnosis’ – a Greek word that translates as ‘secret knowledge’. To be Gnostic simply meant to be ‘learned’.

nag-hammadi Codex

The Gnostic texts of Nag Hammadi offer an alternative creation story that teaches of a cosmological ‘birthing’ of our world through the dreaming of what the texts call ‘the Aeons’. The Aeons were said to be divided into upper and lower realities (consciousness) and one particular Aeon, called Sophia, was pivotal to this story. Sophia was the goddess that became Gaia or Earth in the Gnostic teachings. Dictionaries define this meaning of Aeon as ‘a power existing from eternity; an emanation or phase of the ‘supreme formless deity’. Gnostic texts refer to the Upper Aeons and Lower Aeons in very different terms and they say that between the two worlds is a curtain, veil, or boundary. The Upper Aeons are said to emanate directly from the unity of ‘The One’ – Infinite Awareness of itself – and can be symbolised as concentric circles expressing the Oneness of their Creator or Emanator.

The Upper Aeons are described by Gnostics as ‘The Silence’, or the ‘Living Silence’, or the ‘Watery Light’ (an ‘essence’ I am constantly trying to capture within my art and illustrations). The Lower Aeons were said to be creator gods that could only influence worlds beyond the veil or boundary. They are the lesser ‘gods’ often referred to in both Monothestic and Polythestic beliefs.

Virtual Heaven
According to Gnostic myth, the world we inhabit was pure ‘thought’ (the region of matter made manifest) through the material, or physical world. Like the Tenth Century Bogomils and Paulicians, to the 12th Century Cathars of France, the Gnostics saw the physical world as the land of shadow and darkness, a place where ‘perception and deception’ would coexist. A place that was the creation of the devil. According to Gnostic texts, Sophia eventually took physical form as Gaia, the original Earth and therfore endured the pains of giving birth to physical forms. The Native American Northwest Thompson Indians, like many other native peoples, illustrate a similar story of the Earth being a goddess through their cosmology:
At first Kujum-Chantu, the Earth, was like a human being, a woman with a head, and arms and legs, and enormous belly. The original humans lived on the surface of her belly. Her hair became the trees and grass; her flesh, the clay; her bones, the rocks and her blood, the springs of water.

From my ongoing research, I feel that ‘Sophia’, was captured in artforms as the original goddess found all over the anceint world. She is Langa (Zulu African), to the goddess Chalchiuiticue (Aztec) we find personifications of this Aeon Goddess. She is also the Goddess, Umay, of ancient Turkic semi-nomadic peoples of the Caucasus Mountains.  Stories of Asherah, the Wife of God found in Mesopotamian art and sculpture, along with the famous 25,000 year old neolithic sculpture of the ‘Venus of Dusseldorf’ seems to be another image of Asherah, possibly Sophia (see images). Eve, in my view, was another version of Sophia and the ‘lioness’, ‘dragon’ and ‘bird’ in my painting are all projections of the goddess too. They are intricately connected to our DNA.

Venus Sophia Sohia as Venusof Dussledorf

It was said that as Sophia dreamed, she ‘fell’ further into the ‘void’ and awoke within her nightmare, as her impact on the outer veil (or boundary between worlds) led to the ‘emergence’ of what Gnostic texts call ‘in-organic’ elementals known as ‘Archons’. The word Archon comes from the Greek ‘archai’, which means primordial, first, or antecedent in time. The Archons arise in the planetary system before Earth was formed into a habitat for life and are not organic by nature. In Arabic texts the same elementals are called the Jinn, and in Christianity they are referred to as demons or ‘phantoms’ said to plague humanity to this day. For more information on the Archons and the Lion of God symbolism see my blog, Sophia, Orion & the Lion of God.

Sophia dreaming

From within Sophia’s nightmare, according to the Gnostic scriptures, there appeared a central figure, or a deity that she gave birth to and quickly rejected. This figure proclaimed itself to be the source of all that was born out of the impact caused by Sophia’s dreaming. He was the Father God called ‘Yaldabaoth’ and announced that ‘he’ was the architect of the virtual worlds that were forming due to Sophia’s dreaming. The worlds forming were the ‘stars’ and ‘nebulas’ in the lower worlds of what the Gnostics called the Kenoma. Under the instruction of this Architect God-figure, along with the Archons, they built solar systems including a ‘fake Earth’ (or Matrix). The Archons used other planets and suns to alter the original geometry and ‘fractals’ of light in order to replicate ‘the heavens’ in their liking. The texts say that the offspring of Sophia, guided by this Architect God-figure, constructed an illusory reality, purposely made to ‘mimic’ the original organic reality born of the Aeon Goddess. The architect symbolism found in all Freemasonic imagery is meant to be Yaldabaoth in human form.

The Gnostic Demiurge

The Anthropos

Gnostic writings explain that the Anthropos, the genomic template for humanity, is at first a ‘featureless’ singularity produced from the Originator or propater mentioned in the Greek Coptic books. It could be seen as the ‘blueprint’ for humanity’s spirit or form. The ‘Originator’ is the monistic source of multiple Aeons. The featureless singularity, an explosion of pure undefined possibility, comes to be configured by the Aeons as part of an  experimental projection forming into the galactic body and arms.

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

The Gnostics wrote that two Aeons, Sophia and Christos, undertook the encoding of the human genome (Anthropos). These two Aeons , according to the texts, are the “parents” of the human species, but not in a biological sense. Christos and Sophia make a cosmic coupling. Once they have configured the ground plan for the human genome, encoding it with countless capacities and talents, they join the entire Pleromic company to release it into the galactic limbs (the Milky Way). The Orion Arm is a minor spiral arm of the Milky Way some 3,500 light-years across and approximately 10,000 light-years  in length. It is worth noting that the Solar System, including the Earth, lies within the Orion Arm.

The Anthropos was said to emerge from the cosmic center as a ‘projection of the divine imagination’ of the Upper Aeons, but not a creature made in the image of any god. Such is the grand vision of the mysteries connected to the origin of the human species. William Blake’s art and poetry, along with many alchemical illustrations seem to be eternally focused on what Blake called the ‘Divine Imagination’ made into human form (see image below right). His poem titled the Divine Image also attempts to convey similar concepts.

Divine Image

Orion’s Central Sun
In various alchemical texts, Apollo, Vulcan and Mercury were said to ‘conceive Orion’ in an allegory of the three-fathered ‘philosophical child’. In simple terms, the three-fold powers of light, fire and energy (force) construct the ‘celestial man’ called Orion. Another term for this process in Alchemical texts such as the Opus Magnum, is the Aurora. Symbolically speaking, these three forces of watery light, celestial fire and electromagnetic forces combine to create the Heavens and all that is contained within ‘time and space’. Celestial Light (electromagnetic) and star fire are crucial to this process, but it is what Mercury carries in his hand that brings the three forces together. The caduceus or the double snake symbol carried by Mercury (Hemes), is the celestial kundalini that unites all three forces. It is the ‘Fohat’ kundalini symbolism, or the equivalent of a cosmic birkeland electromagnetic current that converges to create the Eye of Osiris (Orion) as it ‘powers’ both our Sun and Moon. The synchroicity of the relationship bewteen our Sun and Moon through eclipses, size ratio (radius) from Earth is beyond ‘accident’. Something ‘bigger’ placed these celestial bodies where they are for desired effect.

Left: the classic image of the entwined ‘serpent’ around the tree (or middle pillar) that lead to the Eye of Providence – the Knowledge of Life. Middle: The centre door arch above the gates ot the Bronx Zoo (a place I visited many years ago), showing both the serpent and the lion symbolism (see the above Gnostic image of the Demiurge also).

In other versions of this story of the three ‘deities’ or forces, they represent ‘fire’, ‘deception’ and plague’ on one side, while on the other, they are ‘creative imagination’, the ‘magical arts’ and ‘perception’. In every instance these forces come together to forge Orion’s persona as the ‘hunter shepherd’ of the heavens, see my blog Orion’s Door.

Orion Trapezium eye
Left: The Trapezium at the heart of the Orion Nebula and right, the ‘Eye of Providence’ found in so much ancient and modern iconography.

The same allegory connects to Orion’s Trapezium which is situated in a region of the Orion Nebula just below the three belt stars along Orion’s sword. It is a region of speculation and ideas according to some researchers, not least Danny Wilten, that the Orion Nebula is a two dimensional ‘projection’ of our ‘reality’. In other words, the Trapezium acts like a ‘movie screen projector’ creating ‘everything’ we call ‘reality’. The Sun, Saturn and our Moon are ‘strategically placed’ to ‘alter that projection’, or to create our Earth ‘matrix’.
The alchemical knowledge of the ‘Nine Spheres’, the ‘Holy of Holies’, ‘Sephiroth’ (Tree of Life) and the ‘Epithets of God’ all seem to be telling the same story of how Orion’s central sun, or Trapezium, was involved in the creation of our Solar System. From time to time this knowledge appears in religious iconography and one fine example is Saint Charles Church, also known as Karlskirche in Austria. Many of these ‘High Altars’ of Christemdom often seem to feature the ‘eye’, ‘triangle’ and ‘light’ that enimates from it. St. Johns Cathedral in Valletta, Malta (I place I visted this year), also has the same high altar symbolism, along with many other references that relate to saturn, the Demiurge, the moon and the stars on the tombs of the Knights of St John.

High Altars
Left: The Altar piece at St. John the Baptist Cathedral Malta. Right: Saint Charles Church, Austria. Two of many Christian Altars that seem to depict the Orion Nebula and it’s Trapezium. See the research work by Danny Wilten for more evidence.

In fact, so much Renaissance art, not least the Creation of Adam by Michelangelo (below), which forms part of the Sistine Chapel’s ceiling, seems to be telling the story of Orion’s part in the Gnostic creation myths. The painting quite clearly depicts a ‘brain’ in profile framing God, who is creating Adam (Orion), the first celestial man. What is fascinating is that the word ‘men’ (man) etymologically means ‘to think’, or states of ‘mind’ (or thought). Were the Masters like Michelangelo of this period trying to tell us that the Orion Nebula houses the mind of God? What is amzing in relation to these types of paintings of the Renaissance period, is they do overlap to give an identical visual comparison of different areas of the Orion Nebula. For more on this I recomend Wilten’s research and his E-book, Orion in the Vatican.

Danny Wilten © 2013
Danny Wilten © 2013

As we travel farther away from the Trapezium into the body of the Nebula, what looks like a human face, a ‘red dragon’ and the ‘lion-headed-serpent (Demiurge) in the Flame Nebula (within Orion), all seem visible in the interstellar cloud of dust, hydrogen, helium and other ionized gases. I have captured some of these forces in my painting, Orion & Eve  at the top of this blog. Other nebulas such as Barnard’s Loop, the ‘Horse’ and ‘Monkey Head’ also appear in the Orion constellation. It is an important constellation and this is why many ancient people focused on Orion. Anything is possible within the realms of ‘star magic’ and the holographic nature of the universe. The question is; How and why did Michelangelo clearly entwine the obvious Orion Nebula composition (captured by Nasa below) within his painting The Creation of Adam? It was painted on the celing of the Sistine Chapel over five hundred years ago. Was it visionary sight or technology? I’ll leave that for your to decide.

The Orion Nebula. The most important of all of nebulas within the Orion constellation.

Many years ago I heard the term ‘Earth Stars’, and the understanding that humans are ‘points of light’ or stars projecting (like a hologram) onto the surface of an ‘earth plane’. Each human being could be seen as the ‘life and death’ of each individual as a ‘star’. It is no stretch of the imagination to see that the holographic nature of the universe would give us ‘macrocosm- microcosm’ when it comes to stars forming and ‘human stars’ forming (see image below). I have found that most people involved in ‘ritual magic’, Paganism, and the ‘lower knowledge’ I call religion, seem to have no idea what actually ‘powers’ the so-called ‘celestial bodies’ we call the sun, planets and the moon. Too many are worshipping the ‘instrument’ with no knowledge of ‘who’ or ‘what’ made the ‘instruments’ they worship in the first place.

fetus and stars
The Gnostic texts describe the Demiurge and Archons as a ‘neonate form’ like an aborted fetus.

From Orion to Saturn
The ‘Nine Rings’, or ‘Holy of Holies’ found in alchemical and kabbalistic books, in my view, are the symbolic electromagnetic circuitry connecting ‘Orion to Saturn’. In the Gnostic Hypostasis of the Archons, a system of eight circles were said to be the ‘projected heavens’, or worlds, forming our immediate Universe. In Norse myth, these ‘worlds’ also formed the ‘world tree’, ‘Yggdrasil’. They were also called the ‘Seven Heavens’, with an eighth world called the ‘Ogdoad’. This was considered a ‘super celestial region’ creating the spheres of the ‘Seven Heavens’ or ‘Seven Stars’. These ‘stars’ were Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon. For the Gnostic mind, each of these stars were supposed to be presided over by a different archon. Yes, an archon. The lower realms (the eighth sphere), beyond the influence of Sophia (from Saturn to the ‘fake’ Earth matrix), was said to be the abode of ‘Archangels’. The Gnostic and Ophite systems give their names and forms, from Michael as a lion, Suriel as an ox, Raphael as a dragon, Gabriel as an eagle, Thauthabaoth as a bear, Erataoth as a dog, Onoel (or Thartharaoth) as an ass. The central pillar connecting the angelic spheres was Adam Kadmon (Orion Man), or the ‘mind’ (man) of God (see below). At the highest point of the Eight Spheres was the ‘Ninth Sphere’, where it was said that the ‘great lord archon’ – ruled over the Ogdoad, or ‘ethereal’ region, described as reaching down to the moon. The moon is a portal where souls pass through at death. I go into this in more depth in my book Through Ancient Eyes.

Adam and his Sword
Left: The Qabalah as the ‘flaming Sword’, Orion’s sword positioned below the Nebula. Middle and right: Different depictions of Adam (Orion) Kadmon contained within the Qabalah. Adam is the celestial hu-man made into human ‘being’.

According to Gnostic writings, it seems the Demiurge and Archons evolved out of the nuclear fusion focused on the Orion Nebula. Named after the Latin word for cloud, ‘nebulae’ are not only massive clouds of dust, hydrogen and helium gas (and plasma), they are also often ‘stellar nurseries’ – or places where stars are born. All life is born of these stellar ‘wombs’, and our DNA is made of the same ‘genetic star stuff’ that gives us a myriad of life forms. Life, death, all duality centered on Orion, has to pass through a symbolic ‘door’ (or portal) into worlds that create reality on Earth. Orion’s electromagnetic nebula, centered on the Trapezium (a portal) seems to send ‘life force’ through the stars (like an electrical current) passing through our Sun, the dwarf stars Jupiter and Saturn, and other ‘minions’, or Moons.

The human world (earth matrix) is constructed by this ‘power house’ often symbolised as the Cosmic Soul, Tree of Life, Music of the Spheres or the ‘Ladder’, in Alchemy. Robert Fludd, the prominent 16th Century English Paracelsian physician, alchemist, astrologer, mathematician and cosmologist, often depicted this ‘projection’ in his Utriusque Cosmi, which shows man the ‘microcosm’ within the universal ‘macrocosm’ (see figure above right). Athanasius Kircher, the 17th Century German Jesuit scholar, also produced many papers and drawings attempting to order the connections between the ‘stars and humanity’ as the cosmic ‘Hu-man’ (light-Man). The Illustration by Fludd seems to show man as the ‘macrocosm’of the planets, the sun and stars, projecting out of a central sun (at the crown above the head). The rings forming around the cosmic man are symbolic of the Sefirot (the tree of life).

In Norse mythology, the god Surtr guards Muspell (a realm of fire), one of the Nine Worlds of Yggdrasil (the World Tree) with his ‘flaming sword’. Interestingly, the ‘sword area’ of the Orion Nebula which comprises three stars: Orionis, Theta Orionis, and Iota Orionis, is just above the Trapezium, the birthing place for young stars. I feel that something was certainly placed in that region of the ‘Stellar Garden’ to prevent humanity from accessing its Super Consciousness. Symbolism connected to the number ‘three’ (or 3 x 3 = 9) seems to be a major numerological code for creating the structure of the ‘Tree of Life’. Could the Orion Nebula be the celestial ‘brain’ or ‘mind’ that is creating our physical ‘fallen’ Earth-reality, manifesting through all versions of duality? I explore this further in my book Through Ancient Eyes.

Eye of god

The circles or realms descending from an upper central sun (projection point), are said to number 1 to 9 (symbolically) and these are the primary numbers from whence all others derive. The tenth realm is the earth matrix itself. Interestingly, it is written that the ‘Eighth Sin’, or the ‘Eighth Circle’, called ‘Malebolge’ was often depicted as the upper half of Hell, the place of the ‘Fraudulent and Malicious’. The Eighth Circle was described by Danté (a Gnostic Cathar) in his 12th Century epic work, Inferno, as a place where ‘deception’ dwelt and from where it came from. These circles (or rings) are also realms or ‘frequencies’ that align with the so-called ‘Seven Deadly Sins’ through the Eighth Circle, and was depicted as a human ‘eye’ by the 15th Century artist (and initiate), Hieronymus Bosch. The holographic nature of the human eye and the human form is expressed in the New Testament text;

“For where your treasure is, there your heart will be also. 22 The eye is the lamp of the body. If your vision is clear, your whole body will be full of light. 23 But if your vision is poor, your whole body will be full of darkness. If then the light within you is darkness, how great is that darkness.” Matthew 6:22-23

All of these symbols relate to ‘perception’ (or deception) and how the world is created through our perception, our imagination and of course, ‘information’ (energy) in the form of electromagnetic light (plasma). The circles or ‘rings’ (if you are a Lord of the Rings fan), also relate to constructed hemispheres that ‘restrict’ human consciousness to form an ‘ethereal link’ to the otherworldly creators (the archons), also called the gods or goddesses (the Planets), angels and the stars.

All so ‘Strange’ (Dr Who?)

The Marvel character Dr Strange, along with another character called ‘Adam Strange’ created in the 50’s seem to be hinting at the cosmic man mythology. Both characters seem to be symbolic personifications of the fallen Anthropos (Adam Kadmon), the Primordial Man. Adam was said to be the first ‘light-man, or  ‘Hu-man being’ to emerge with the creation of the cosmos. Eve, in my view, was already an aspect of Sophia, and not created from the Celestial turned fallen Adam. In these Marvel narratives Eve could well be considered the ‘Ancient One’ who is portrayed as a woman in the 2016 movie version. An idea that could have been inspired by a Celtic version of the Sophia myth as Ceridwen (Welsh myth) or Danu (In Irish mythology).

The Primordial Man is also an important symbol in Gnosticism. The Gnostics inferred from the verse in Genesis “Let us make man in our own image” that the first earthly man was created on the model of a cosmic Adam on high. In the Nag Hammadi text, the Apocryphon of John, we learn that this Anthropos is the first creation of “knowledge and Perfect Intellect” and the first luminary of the heavens. Why is Orion so important to the ancients who seemed to build pyramids aligned with their Adam on high? This Anthropos becomes the heavenly model through which the demiurge ‘ceates’ an earthly Adam. To understand this concept in modern terms, I recommend watching the Matrix movies and analysing the Neo (Adam) character in relation to the Architect (Demiurge).  The movie trilogy is pure Gnosticism. Amongst the Mandeans (a Gnostic sect that today survives in Iraq) the primordial Adam is coextensive with the cosmos, his body is the body of the world, and his soul the soul of ‘all souls’. In an image which would later reappear in the Kabbalah, the Gnostics held that individual human beings are descended from the cosmic anthropos as a result of the fragmentation of the Primordial Man.

The ‘eye’ and ‘X’ symbolism found in the Marvel Dr Strange comics could easily relate to Orion symbolism. Dr. Strange symbols include the Eye of Agamotto (below), used to reverse time and undue all of the destruction in the story. The Eye contains the ‘Time Stone’ (one of the Infinity Stones in the Marvel comics) and is clearly a reference to the relationship between Adaom Kadmon (Strange) and Saturn, the Lord of Time (and Time stone encased in a ‘cube’). The Eye of Agamotto, resembles the ‘Eye of Providence’ found in Freemasonry, and as I mentioned earlier, it could be a symbol for the Trapezium area, a portal into the upper Aeons through the Orion Nebula.

X-Eye symbolism
X-Eye (portal) symbolism found in the ‘Dr Strange’ narratives. ‘Adam’ Strange (upper middle) seems to be an earlier version of Dr Strange. The X chromosone, along with the Y is the genetic blue-print for life in physical form. Bottom left: The ‘Eye of Agamotto’ is Dr Strange’s amulet and symbolic of the place from where his sorcery originates (is this Orion?)

In the Marvel stories, Strange also confronts Dormammu in what is called ‘the Dark Dimension’ and creates an endless time loop to ‘trap’ this giant deity. Dormamu could easily be inspired by the ‘Demiurge’ of Gnostic belief (see image below).

Dormmau (Demiurge) faces Dr Strange (as Adam on Saturn)

As I am reaearching and writing a book about Orion, I found it interesting that the creators of the graphics for the 2016 Dr Strange movie, chose to include, ‘visually’ what seems to be reference to a star or nebula enamting from Steven Strange’s hand. Is this Orion?

Dr Orion
Left: Dr Orion. Right: Two distinct clusters in the M42 region of the Orion Nebula. The blue left-side cluster and the larger red area to the right, which contains the Trapezium. Are these the ‘Caves of Creation’ (or Eden) referred to in African, Aboriginal and South American mythology?
Dr Strange as the Time Lord (see Dr Who) and Manly P Hall’s image of The Grand Man of Zohar, one of the greatest books of Qabbala. From Orion’s central Sun to the ‘Time Lords’ of Saturn, Both are focused on humanity and Earth (Sophia).

The Adam and Eve story, which sees God (the Demiurge) ‘expelling’ Adam (Orion) and Eve (an aspect of Sophia), along with the serpent (the electromagnetic kundalini force), for disobeying him, is another version of the ‘Fall’. The three forces take the form of the Tree of Good, Evil and the ‘Tree of Knowledge’ in the Garden of Eden. All of which seem to be symbolic of the forces focused on the Orion Nebula. In Jewish theology, the higher ‘Gan Eden’ is called the ‘Garden of Righteousness’, a location said to have been created at the beginning of the world. It is said that here the ‘righteous’ dwell in the sight of the ‘heavenly chariot’ carrying the ‘throne’ of God. Is it possible that the ‘chariot’ and ‘throne’ was another way of describing the Trapezium area of the Orion Nebula? Was Orion and his Queen (Eve) expelled from the realms of paradise, the place where the Upper and Lower Aeons meet for disobeying the Demiurge? Again, it is interesting to note that the word ‘paradise’ comes from the term ‘pardes’, meaning a ‘royal garden’ or ‘hunting park’- a perfect place for Orion.

The serpent in this story is associated with Satan (or Saturn’s influence) and how ‘his’ act of disobedience also led to Satan’s supposed imprisonment in the Circles of Hell (see also the story of Prometheus). I personally do not view the serpent, in the Biblical sense, as a negative force. It represents the powerful electromagnetic forces that allow for the ‘electromagnetic’ ‘creation of worlds’ and solar systems. Without the serpent (Kundalini) we would not access the Third Eye (the Eye of Providence).

In my view, Eve was always there in the garden amongst the stars! She is an aspect of Sophia, and not from the physical body of a ‘fallen’ genetically modified Homo-Adam.

The Roman Catholic Church, along with the various Abrahamic religions sought to demonise Eve (the goddess) so to suit their agenda. Lets face it, ‘Eve’, like all women, through the eyes of the ‘Demiurge driven religions’, has been forever ‘dominated’. The Earth (Sophia) has been ‘dominated’ too by a demented creator that ancient priests (mainly men) called, God.

The good news is that time is running out for those that seek to eternally ‘divide’, ‘dominate’ and ‘supress’ the original human being. The Anthropos was born of a union bewteen the higher-celestial (Aeon) feminine and masculine forms we know as Adam (Christos), and Eve (Sophia).

The unification of both male and female at the Tree of Knowledge, symbolically speaking, gives us the potential for all duality to cease, and for the ‘two’ to become ‘one’ again. Genius song writer/musician, Peter Gabriel, expresses well the notion of returning to oneness through higher celestial feminine and masculine forms in his song, Blood of Eden:

In the blood of Eden lie the woman and the man,

I feel the man in the woman and the woman in the man,

In the blood of Eden we have done everything we can,

In the blood of Eden,

So we end as we began,

With the man in the woman and the woman in the man,

It was all for the union, oh the union of the woman,

the woman and the man.

Bye for now.


Through Ancient Eyes Cover only

Through Ancient Eyes (New Edition)

Through Ancient Eyes Cover only

‘Neil Hague’s work is unique – the language of an open and highly creative mind. You look with your eyes, but he speaks to your heart.’
David Icke

‘Through Ancient Eyes is an essential read for anyone interested in the power of the imagination, and how art and nature can transport us into different levels of awareness.’

Jay Beldo

Twelve years ago my first book, Through Ancient Eyes, went out of print after only having a shelf life of 4 years. The project was originally born out of years of research throughout the late 90s, however, I have spent the past few months updating its content and adding a new chapter on the symbolism connected to Orion myths and symbolism. The cover design is essentially the same but of course, I have produced much more work over the past twelve years and therefore felt it necessary to include some of these images on the new updated cover.

With over one hundred illustrations, the new 2018 edition goes deeper into the symbolism and draws on some of the material I have been writing about in a ‘movie symbolism’ blog (of the same name) since 2012.

Through Ancient Eyes remains my seminal visionary piece of work. Written in an easy style with footnotes at the end of each chapter, the book will hopefully be ‘inspirational’ for anyone who is embarking on their own creative and spiritual path; or wanting to understand more about the history, mythology and symbolism that has inspired artists since ancient times.

Through Ancient Eyes (2018 Edition) is Now shipping. Click here 

ISBN 0-9541904-0-8
334 pages and over 100 Illustrations in black & white.

Layout 1

Through Ancient Eyes explores how art is a metaphysical activity, while illustrating the art and soul connections that have existed since ancient times. Drawing on a wealth of information, which includes prehistoric art and prophecy, through to the work of William Blake – this fascinating book unlocks ancient wisdom that has inspired artists from all ages.

Expanding our view of the creative process, we are taken on a journey that weaves together a cornucopia of myths, archetypes and symbols, which through art, can reveal hidden dimensions of the soul. This unique book unravels the symbolism contained within ‘Gnosticism’ and offers a new insight into the ‘Orion mysteries’. The book reveals how the esoteric practices of secret societies and the art of historical artists are connected. What they have in common, artist and priest, is the understanding of a hidden knowledge, which throughout the ages has been used to ‘liberate’ or ‘control’ the human psyche.

Using over 100 illustrations, Neil Hague shares his own visions, challenging the conventional view of art, history, science and the symbols of the stars. He offers an alternative perspective, one that sees humanity’s role as multidimensional beings, breaking free of the shadows and self-imposed limitations that prevent us from awakening the creator within. He says:  “Ancient peoples used their creativity to communicate with powerful forces that are, once again, raising the vibrations of our planet. Visionaries and prophets, artists and poets (along with filmmakers), throughout history, have all used their ‘ancient eyes’ to tap into creative consciousness”. Through his own unique art, Neil attempts to demystify the spiritual systems, different dimensions and interdimensional forces that interpenetrate our world – many of which have been recorded in art and texts since ancient times.

Podcasts from the past …

neil on Red Ice

Neil Hague – Control of the Art Industry, The Old World Order, The Age of Leo & The Awakening Sun – On Red Ice Radio/TV (2010)
In his books, Through Ancient Eyes and  Journeys in the Dreamtime, he illustrates a personal and fascinating approach to art and image-making. Neil joins us to discuss art and secret societies control and promotion of certain artists, musicians and writers. We also talk about the Hopi, their prophecy, dreams and the propaganda people are subjected to through the media. More Topics Discussed: transitional time, Robert Green, collaboration with David Icke, Caravaggio, Knights of Malta, Order of the Garter, The Brotherhood of our Lady, De Medici, the art industry, viral marketing, Jay-Z & Lady Gaga, Jesuits, Kirschner, artists tapping into the unknown, Koyaanisqatsi, the media empire, Hopi Prophecy Rock, destruction, World War, the new world order is an old world order plan, beyond the veil, property, mortgage servitude, scarcity, environmental scam and more. In our second hour we discuss the agenda of climate change and “Earth Day”. We explore the perception of scarcity and contrast that against the abundance of energy that does exist in the universe. We talk about the changes happening in the galaxy and the consequent changes our sun is going though. Neil shares with us his take on the symbolism of the lion, the mystery of the white lions and the age of Leo. He also talks about a return to “the first time” without fear and paranoia. More Topics Discussed: iridium element, Maya & Hopi sun prophecies, the fifth world & the sixth sun, the first people, Pahana, galactic changes, chambers of the brain, dream, education, entertainment, noise, doomsday, fear, terrorism, energy, creating money, exchange of services, John Trudell, positivity, age of Leo, prehistoric art and more.

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A New Book by Neil Hague


Aeon Rising – The Battle for Atlantis Earth is the final part of an epic creation myth. In this highly original work of fiction, author and illustrator Neil Hague completes the trilogy in the Kokoro Chronicles. Aeon Rising is an adventure that tells the story of an ancient Earth, a world created through the ‘dreaming’ of what the Gnostics’ writings called ‘Sophia and the Aeons’.

The book offers a unique narrative mapping the ‘end times’ of the lost continent of Atlantis, and telling how the heavens were caught up in an immense battle to prevent its demise. We are taken on a journey from west to east through the eyes of the monkey god, Lonza, and the bear tribes of the Third World Age. We meet the lion priests of Atlan, as they hold on to a world age coming to a drastic finale. The book is an epic struggle for the dominion of a new Earth; one forced upon the ‘first humans’ by those who came from outside of the Solar System.

In four parts, and through his individual style of visionary illustration, Neil Hague tells the story of Ariel, the last lion priest of Atlantis, and the arrival of the Eagles of Urza in their quest to save Sophia Earth. We are introduced to a pantheon of deities, of star people and their celestial battles for the Solar Tree; when a star system goes to war with another. We meet the Eagle lord Altair; the Killipoth of Kronos and the Draco invaders that started what became known as the ‘Great War of Heaven’. It is a story of the demise of Earth’s original Sun, the end of a Golden Age and the ‘arrival of the Moon’, in a way never been told before.

We are taken across pre-historic frontiers, on Earth and beyond its surface, as we witness the immense struggle for our Sun, Moon and Earth. From the legends of the Aboriginal Dreamtime to the Hopi migration myths, Hague weaves together themes and knowledge of the Orders of Orion, Sirius and the story of ‘opposing forces’ that are still shaping our world.

Prepare to go back to a time before the Great Sphinx of Egypt, to an era of the ‘lion priests’ of Atlantis and into the worlds beyond death, to the place of Aeon Rising

ISBN: 978-0-9541904-9-1

Hard back Colour 64 pages (10×7′) Fiction (signed copies) £20



The Circle Within


“They will return again.

All over the Earth,

They are returning again.

Ancient Teachings of the Earth,

Ancient songs of the Earth.

They are returning again.

My friend, they are returning.

I give them to you,

And through them

You will understand,

You will see.

They are returning again Upon the Earth.”

Crazy Horse Oglala Sioux (1842-77)

I’ve have recently found a new (but old focus) into the ‘spirit of all things ‘Native American, Celtic and Pagan. I have attended several drum circles (with more to come) and it has given me a glimpse once again of the powerful need for unity, ‘people coming together’ to celebrate the ‘power of the circle’. I think that people at this time are being urged to understand more fully the need for unity and ‘coming together’. Whether a devastating hurricane, like the ones we have witnessed in the Caribbean islands, or a major refugee crisis (manufactured or other otherwise), people will naturally gravitate to unification, to help each other and to heal. The circle is what reminds us of our fragility and power as human beings.

The circle is what gives us the power to ‘empower’ each other. It gives us the energy to be a tribe and more importantly, the connection to our sacred centre – or our spiritual heart. No matter how we see the circle, we are working with an ancient symbol that has the ability to connect us with our ‘spirit self’. The circle is autonomous with developing the imagination and our visionary powers of seeing. More so, I believe this process cannot happen without a connection to the Earth through art forms and creative expressions of every kind. We often lack the sight to look at our ‘finer bodies’ that as a whole make up what I termed, many years ago – the ‘Circle Within’.

The Gnostic Circle Within

The Gnostics imagery below saw this as the nature of the Divine and the Divine spark within humanity. The 16 Gnostic figures encircling the central fire become the Circle Within. The Gnostic approach to the circle sees what they called God as an androgynous, both male and female force, and “all-containing” or sometimes “the uncontained.” It was also referred to as the Monad, or the first Aeon – depicted as a circle.

Gnistic circle

The Gnostic use of sixteen figures (numbers) to create a Divine Spark is obvious mathematically as it also relates to the ‘four times four’ markers on the Circle or Wheel of life, which is something I will come to shortly. Two figure of 8’s (16) also gives the double infinity symbol, which gives us the idea of limitless possibilities, a beautiful and empowering reminder of eternal measure. Double Infinity Symbolises the idea of combining two everlasting infinities, to create equal ‘unlimited possibilities’.

Interestingly the 16th card of the Tarot, the Tower, asks us to ‘reflect’ on what happens when we hide from the truth (our truth) and refuse to confront the façade we often call daily life. Just as we become increasingly aware of how much we are betraying our true selves, symbolically we start to welcome the ‘bolt of lightning’ on the tarot card, which destroys the façade. The ‘calling of the circle’, or use of a circle in a ceremonial sense, can break down personal illusions for those that participate in its power.

medicine wheel
The Wheels or Circles vary depending on belief based on location on the Earth.

The Four Zoas

These circle can be divided into four aspects, or what many visionaries have called the four ‘eternal senses’ of humanity. When we consider ancient symbols and knowledge like the circle, they tend to have a common theme across many cultures. The number four constitutes the basic cardinal points and power of a circle and this relates to the four seasons, directions, elements, and ages of the zodiac and primary races here on Earth. The power of the circle and the ancient knowledge contained within it, charts four bodies that make up an individual cyclical system. This inner system sets out to explain how the soul puts on a garment (a physical body) in order to experience the physical world. According to our position on the circle (or wheel of life), we connect with the Earth’s natural (organic) cycles, which offer experiences for spiritual development.

The four different bodies (that constitute who we are) have been described by many visionaries, as the following:

The spiritual body/creative world concerned with imagination and intuition.

The astral body/archetypal world concerned with emotions and feelings.

The physical body/formative world concerned with structure and sensation

The mental body/material world concerned with thoughts and reason.

The Four Zoas
The visionary artist William Blake understood this knowledge through his own perceptions of the ‘four bodies’ that constitute the, divine form, in his work the Four Zoas above.


Observation of our life cycles also gives us a wider view of how we create patterns, both disorder and harmony, within our own lives. The Circle Within allows us to raise our vibrations and give ourselves permission to become the Oneness defined by the Circle.

Medicine Wheels and Earth Circles

The circle or wheel can be found in so many First People’s attempt to interact with the deeper knowledge imbued by circle symbolism. Communities were built on circular models. The Native American medicine wheel is one example. The Majorville medicine wheel located south of Bassano, Alberta, dated at 3200 BC is good example. Other Circles can be witnessed in megalithic structures all over the world not least places like Stonehenge, Avebury and Tara in the UK. The stone circles are often placed on powerful energetic sites that connect to ‘arteries of light’ (Ley lines) and this is why our ancestors chose the circle, or spiral, as it anchors and harnesses great power. Places like Avebury have been ‘broken’ energetically to a certain extent in terms of the Circle being broken, (courtesy of roads now cutting into the place), but the power is still active and awake in the land.

stone circles

The Medicine Wheel can take many different forms. It can be an artwork such as an artifact or painting, see the Navajo sand paintings or petroglyphs for examples of this. Or it can be a physical construction on the land. Hundreds or even thousands of Medicine Wheels have been built on Native lands in North America over the last several centuries. They all relay the same use of a simple knowledge – We always return to the ‘centre’ the Circle Within.


Movement around the Medicine Wheel in Native American ceremonies is always circular, unlike the pyramid structures imposed on so-called Western Civilization. The circle was meant to align us with the forces of nature and the cosmos. The Triangular Pyramid structure ‘separates us’ and creates Elite power structures.

The Medicine Wheel is an ancient device, like the zodiac (see Stonehenge), which can provide meanings and symbols for individuals to integrate within their lives. The wheels and circles are often celestial ‘markers’ of transitional time and I am sure they were made primarily to ‘synch the Earth’ (people) with a new energy grid after the demise of Atlantis.


Calling the Circle

The circle is an important tool for giving a community focus and healing. It is also a vehicle for interaction with the Earth and each other through the circular energy that is empowering for all those that approach the circle with an open heart and mind. If it becomes a group ‘mind set’, or ‘ego’ driven, which I have seen within some ‘circles’ (gatherings), then it can be detrimental to the growth of everyone involved.

The use of the Native American talking stick (above) passed around a circle also creates the connection to all involved empowering the individual. It is my understanding that the First People of the First Ages on Earth employed the circle as a means to honor ‘community’ and to manifest healing for individuals in the community (or tribe). The circle ‘sees’ all as One. The circle offers a ‘listening point’ (hence the talking stick as a tool) for those that partake in its power and it is a platform for building sacred relationships with all who are united in its presence. The ‘circle within’ becomes a ‘sacred hoop’ (same thing) when spirit is allowed to unite with the heart at the centre of the Circle. The circle within is the heart energy that comes through when the circle is sacred and connected to the hearts of all inside its power. Christina Baldwin writes in her book Calling the Circle – The first and Future Culture;

“What we embody is the heart’s desire to be an equal presence in the world. The heart resides within the body, and the body responds when heart energy is released. When the ‘heart’ – not the physical muscle, but the scared muscle, the heart center – is open, the body vibrates with energy. The intellect drops and our thoughts, feelings, decisions, and choices about action are accompanied by physical sensation …”

I’ve been saying for many years that the Earth and Heart are interchangeable; they are one and the same. The circle, as a symbol, connects us all.

calling the circle
Calling the Circle also known as the Sacred Hoop that surrounds the Earth. Image on the right: Alive in a Sacred Circle by Phaedris

On a higher level observing the ‘circle within’ can show us how to read the future, while giving us a grounding of what we need to experience in the present moment. In other words the ‘circle within’ was considered an ancient device for manifesting reality through the four bodies mentioned above. A Native American teacher, Wa’na’nee’che otherwise known as Dennis Renault, who I had the privilege of meeting several times in the 90’s, described the circle within as the Old Way. He said:

“The Spirit of the Thunderbird flies to all four corners of the Earth and brings the people back to the natural way of life, not through religion or a Native American way, but the ‘Old Way’, that once belonged to all humans.”

This Old Way is does not necessarily mean that we go back to living in tents (mind you it’s very tempting lately), it relates to the need of ‘seeing beyond’ the ‘material illusions’ that blight our lives. Harnessing the collective power of the circle can give us the connection when we need it the most. For example, I have seen people arrive at a drum or healing circle looking in need of love and healing, to see them leave elevated and happy at the end. The circle is also employed most powerfully in a crisis, or a dispute and if allowed to function in a sacred manner will quickly offer solutions to problems being faced by any group, tribe or Nation. Ask yourself why none of our parliaments or bodies of governance sit in circle? To do so they would be empowering an ancient symbol that places power around the rim, and not at a peak atop a pyramid structure. The United Nations, for example, is a broken circle, and intentionally so. It was never meant to resolve issues or bring world peace, for it did, we would have it!

broken circles of power
Pyramid (triangular) power and ‘broken circles’ in places of power do not honor the power of the circle.

Celebrating the Dark and the Light

Many teachings have come out of various versions of the Medicine Wheel however there seems to be some common themes that run through them all. The directions of the wheel can offer an understanding of how we cycle through life, express our emotions, or become more introvert or extrovert. So for example, the directions, North, South, East and West embody the Four Elements which combine to make Air, Water, Fire and Earth, and the Four Human Races of Red, Yellow, Black and White. All these in turn are said to affect the Four Bodies of Spiritual, Mental, Emotional and Physical, within the human being, which are continually expressed through the Four Ages of a Life, Childhood, Youth, Maturity and Old Age. Four is also the number that relates to Saturn, the Moon and our Sun and the affect these celestial forces have on four bodies mentioned earlier.


According to Native American and Celtic teachings, the North of the Wheel (the circle) is where our mental body resides, the East is our spirit, the South is our astral body and the West is our physical body. All four bodies are said to relate to a particular element, animal totem, plants, mineral and expressions that help formulate that body. So for example, the North is where the mental body resides and this is likened to the element of air, which in turn connects with wind/movement, because the ancients observed that the strongest and coldest winds came from the North. North on the circle was also the place of winter, ‘death and rebirth’, symbolised by the ‘Giamos Cycle’ and depicted through the colours of white or black (see above). At the opposite side of the wheel summer was considered a time of ‘outward expression’ when the Earth expresses herself in full bloom. South on the Wheel is also a time for nourishing and preserving energy, especially sunlight when Samos begins to yield towards Giamos. The colour that symbolises summer, within many traditions, is red and in many native iconographies, as well as religious art, red and white are continuously used on one level to symbolise the opposite forces in nature. In more ‘secretive circles’ (secret societies) red is symbolic of the connection between the stars (especially Saturn and Sirius) and the Earth. Red was also considered a colour of childhood and raw energy and the same emotions can be seen within ourselves, when we become more expressive, go outside and enjoy the fruits of longer summer days. As we move into Autumn and towards Samhain (Halloween) our focus naturally turns to concentrating on ‘gathering resources’ on all levels of our soul. The time from the Autumn Equinox to Sahmain was considered the beginning of our ‘inward reflection’, when the ‘invisible became manifest’ on the physical (surface world) more easily. Hence the festivities that relate to Halloween and the invisible forces typified through ghosts and spirits (see my previous blogs). In many Celtic and Native American traditions this point in the year was the beginning of a brand new cycle, a time when the Earth would turn inwards and we go into our inner worlds for inspiration and spiritual direction. Through archetypes, (gods and goddesses), like Maponos (Mabon) the great son of the great mother, the ancients would seek direction, with one of Earth’s many natural cycles. Eventually many natural sequences (cycles) and the forces that became archetypal figures were personified for religious purposes. However, The Circle Within places the human at its centre surrounded by power (the Earth) and magic (the Stars). As the Lakota Medicine man Black Elk said:

“Everything the Power of the World does is done in a circle. The sky is round, and I have heard that the earth is round like a ball, and so are all the stars. The wind, in its greatest power whirls. Birds make their nest in circles, for theirs is the same religion as ours. The sun comes forth and goes down again in a circle. The moon does the same and both are round. Even the seasons form a great circle in their changing, and always come back again to where they were. The life of a man is a circle from childhood to childhood, and so it is in everything where power moves. Our tepees were round like the nests of birds, and these were always set in a circle, the nation’s hoop.”

Sacred Hoop – Four Directions – Four Migrations – The Celtic Cross are all the same symbol.

One other point to realize here is that much of what we call ‘season worship’, or the cycles of the Pagan Calendar and the ancient festivities that connect to it (like Saturnalia, or worship of Saturn), all relate to an ancient epoch, when one world age ended and a new age started. My feeling is that the gods and goddesses that came and taught the natives new ways of living with the Earth after a global cataclysm, taught the importance of using the circle. The rim of the circle, the points on the calendar are important, but the centre is where the true power lives. I talk about this in my latest graphic novel Aeon Rising – The Battle for Atlantis Earth

Energy Circles & Sacred Fires

The four points on the circle (east, south, west and north) also represent a series of ceremonies (fire festivals) that were more connected to the Moon. These Moon festivals were often practiced across the ancient world as a way of connecting with more feminine energies, while the solstice and equinox celebrations were considered to harness solar energies by many native cultures. Later Babylonian religions did not view time as a cycle of ‘eternal return’ each harboring with it the ‘seeds’ of future events. Instead orthodox male dominated religious orders dictated that time marches ahead, towards the ultimate ‘second coming’, or a onetime event only, when the whole world would be judged (see Holy war too). Christian mystics that embraced Pagan beliefs, like John Eriugena and Thomas Aquinas (1225-1274), along with he likes of Hildegard von Bingham, viewed the cosmos and universe as an organic, interrelated whole (a circle), an idea that would have found sympathy with scientists and seers today in terms of their understanding of the nature of the Universe.

Hildegard von Bingham
The Christian mystic Hildegard von Bingen knew that the power of creation was contained within the Circle as she depicted in her visions in her works called Scivias.

Spirals and circles are what our Universe consists of and it is the weaving of threads of light into spirals and circles, from our DNA to the Galaxy that connects us all. The DNA serpent energy is apparent in the Ohio Serpent Mound, the largest surviving ancient effigy mound in the world. The same spiraling energy in circular motion can be seen in the labyrinth floor design inside one of the oldest Pagan (sorry Christian) Gothic Cathedrals in France – Chartres.


The Spiral and Labyrinth represents the sacred centre and the place from where the divine emerges. As one ancient chant says:

“… Spiraling into the centre, the centre of the wheel,

We are the weavers,

We are the dreamers,

We are the dream …”

The fire at the center of the circle represents solar and stellar fire, the life giver for all on Earth. When people gather around a central fire in a scared manner and they step into the spirit of the ancient ways, through drumming and dancing, they can become a vessel for the oneness that gives life to the ‘centre of creation’. The drum can represent the ‘heartbeat’ of the Earth and the heartbeat of humanity unified. It is a tool for allowing unique expression. As I said earlier, we don’t need to be living in tents to ‘feel’ this connection, but we do need to have an open heart and a connection to the Earth – the ‘organic energy’ of our planet (our reality). I spent the last weekend of the summer at the Super Spirit Camp near Gloucestershire, and the vibration at the end of the camp at the ‘closing ceremony’ was wonderful and lifted the vibrations of all involved. It reminded me of the many times I had gathered in a circle since the 90’s to connect with the Earth at sacred points. The power of the circle was especially powerful in the lands of the goddess in Peru at Sillustani in 2012 with David Icke and a gathering of wonderful souls.

Peru 2012
The lands of the sacred goddess in Peru at Sillustani in 2012. I felt a goddess energy there like no other to date.

fire drum

Art, Nature and the Machine Age

The advancement of the machine and the mechanization of time through technology and industrialization repulsed many artists. Van Gogh was one of these artists who felt the mechanization of linear time and the ‘city culture’ spreading through his own era, and like other painters and poets of this period, detested the growing industrial culture. The very nature of Van Gogh’s work shows this to us, through his empathy and close relationship with nature and people. Van Gogh shows us through his paintings that we need to be part of nature if we want to see and feel different dimensions of the soul. He wrote:

It is not the language of painters but the language of nature to which one has to listen.”

Van Gogh was seeing what astronomers saw i the 1850’s. His spirals in oil on canvas were probably the Whirlpool Galaxy recorded in the 1850s.

I believe this connection with nature is at the heart of why every person wishes to create. You only have to look around and if you are more adventurous, immerse yourself in the wilderness, to understand that Mother Nature is the most beautiful artist. She paints her body daily with the vastest array of life forms imaginable. Our inner power, which urges us to be creative, comes from recognizing a life force within us, which moves through all beings, gives us our breath and weaves the intricate webs of life. The machine-like technological age, which is becoming more prevalent by the year, is the opposite of how humanity’s natural creative powers should be used. And my goodness look how far we have moved away from the ‘golden ages’ of the First Nations on Earth? One very well-known Native American chief, Joseph of the Nez Perce, once said:

“The earth and I are of one mind. The measure of the land and the measure of our bodies are the same.”

The Medicine Wheel
Native American Wheel compared the Celtic Wheel – both examples of the Circle Within.

Becoming aware of our personal Circle and the ‘eight points’ on the wheel, along with the real reason for the ancient festivals situated around the circle, can help us to recognize our own feelings and subconscious attitudes towards nature and the cosmos. More importantly, the circle within is our own personal microcosms of the universe and it is our link with creation, especially while we are utilizing our imagination and accessing our visionary powers. At the same time finding a focus for our creative energies helps manifest the ‘fruits’ that will enrich our lives, just like the spider uses all eight legs to create a web and move around it, we too need to know our whole self in relation to the Earth and the subtle connections to the ‘unseen’. Our attunement to the transitions in nature through the Earth’s ‘organic time’ (not the illusionary clock/calendar based time), helps us to observe the people, places and experiences that come into our lives, bringing visions and changes as we travel our ‘circle within’.

Look out for more posts about workshops in the spring of 2018 and Healing Circles I will be involved in.

The One

drum circle

Aeon Rising – The Battle for Atlantis Earth

I’ve spent the past nine months writing and illustrating the third part of what has become the trilogy I am now calling the Kokoro Chronicles. Kokoro – The Rise of the True Human Being was the first book followed by Moon Slayer – The Return of the Lions of Durga. A companion Bestiary that embellishes these books was also published at the end of 2016 called Lions and Velons. All of these books can be read separately but there is a chronological order to the Kokoro Chronicles for those that are interested (more on this at a later date).

The new project is now complete and I am excited at the thought of launching the illustrated novel for November 2017. Here is the Blurb below  and a few images from the story to wet your appetite.


Aeon Rising – The Battle for Atlantis Earth is the final part of an epic creation myth. In this highly original work of fiction, author and illustrator Neil Hague completes the trilogy in the Kokoro Chronicles. Aeon Rising is an adventure that tells the story of an ancient Earth, a world created through the ‘dreaming’ of what the Gnostics’ writings called ‘Sophia and the Aeons’.

The book offers a unique narrative mapping the ‘end times’ of the lost continent of Atlantis, and telling how the heavens were caught up in an immense battle to prevent its demise. We are taken on a journey from west to east through the eyes of the monkey god, Lonza, and the bear tribes of the Third World Age. We meet the lion priests of Atlan, as they hold on to a world age coming to a drastic finale. The book is an epic struggle for the dominion of a new Earth; one forced upon the ‘first humans’ by those who came from outside of the Solar System.

first people


In four parts, and through his individual style of visionary illustration, Neil Hague tells the story of Ariel, the last lion priest of Atlantis, and the arrival of the Eagles of Urza in their quest to save Sophia Earth. We are introduced to a pantheon of deities, of star people and their celestial battles for the Solar Tree; when a star system goes to war with another. We meet the Eagle lord Altair; the Killipoth of Kronos and the Draco invaders that started what became known as the ‘Great War of Heaven’. It is a story of the demise of Earth’s original Sun, the end of a Golden Age and the ‘arrival of the Moon’, in a way never been told before.

attacking selene

We are taken across pre-historic frontiers, on Earth and beyond its surface, as we witness the immense struggle for our Sun, Moon and Earth. From the legends of the Aboriginal Dreamtime to the Hopi migration myths, Hague weaves together themes and knowledge of the Orders of Orion, Sirius and the story of ‘opposing forces’ that are still shaping our world.

Prepare to go back to a time before the Great Sphinx of Egypt, to an era of the ‘lion priests’ of Atlantis and into the worlds beyond death, to the place of Aeon Rising.

eagles leaving Urza

More Information as to when it can be ordered, the publication date, along with a book launch in Wales, all to follow soon.

Neil Hague talks about his Art

Neil Hague talks about his art and the deeper symbolism behind some of his work (Part Two)

Filmed by Jonnie Dean Peace in Neil’s studio, we look at original art, sketchbooks and Neil working on a canvas. Featuring new art and Illustrations, Neil also talks about his ‘dreams and visions’ and how imagination shapes reality. In this second part Neil goes into greater detail looking at some of the symbolism within his art.


Neil's Illustrated Stories