Category Archives: alchemy

Typhonian Gnosis

draconis

These are some of the most amazing articles. I have returned to them again and again over the years, and they never cease to inspire me and launch me into new gnostic vistas:

The Heart of Thelema

Going Beyond

The Typhonian Tradition

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The Magickal Union of East & West

The first 50 pages of the Magickal Union of East & West are now available for browsing via the Llewellyn Worldwide website. You are also able to pre-oder both the physical and electronic editions of the book via various sites. Contact your favorite book dealer and let them know you want to reserve your copy today!

Magickal Union East West

 

Ascent of the Fire Snake

fire snake

“In the basal (muladhara) chakra, the Kundalini is known as Amavasya (new moon), for at that place the sun and moon are conjoined; hence the muladhara is a dark power-zone. The next centre, svadhisthana, is flecked with the sun’s rays, hence it is a region of twilight, i.e. mixed moon- and sun-light. The third zone, manipura, is likewise of a mixed nature. On attaining the stage of Anahata, in the region of the heart, Kundalini is bathed in effulgence, and continues to be effulgent until She reaches the place of the Moon (at the vishuddha), the Qoph centre. The Ajanachakra, which represents Kundalini in exaltation, is the Pure Palace of Serene Brilliance. And so the ascent occurs from darkness, through twilight to sunlight, and finally to the cool lunar region of eternal snows which is bathed in the perpetual radiance of the Shri Chakra itself.” – Kenneth Grant, Cults of the Shadow

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Esoteric Significance of the White Lambskin Apron

Another older piece, from 2004

P

erhaps the most universal symbol of Masonry, other than the Square & Compass or the seemingly all pervasive letter G, is that singular mark of distinction which every Entered Apprentice is first presented with — the white lambskin apron. Recognized around the globe as the distinguishing “badge” of the Mason, the lambskin apron is rich with symbolism and practical instruction for the speculative initiate of our Craft who is willing to seek more Light.

One may with great benefit look into the symbolism of the methods of wearing the apron in the three Craft degrees, each encoding storehouses of wisdom in the geometry of their folds; similarly, the various designs of the aprons from the Higher Degrees of Scottish Rite, York Rite, and other Masonic traditions which all contain a wealth of symbolism encoding wisdom from Kabalistic, Hermetic, and Alchemical traditions. However, in this paper I propose to look only to the simple wisdom written into the white lambskin apron itself, which encodes a doctrine of esoteric significance based upon Hermetic Kabala.

We can gleam some level of insight by looking at the presentation of the apron from the ritual of the Entered Apprentice. The monitorial lecture informs us that “the lambskin, or white leather apron”

is an emblem of innocence, and the badge of a Mason; more ancient than the Golden Fleece or Roman Eagle; more honorable than the Star and Garter, or any other Order that can be conferred upon you at this or any future period, by King, Prince, Potentate, or any other person, except he be a Mason, and which I hope you will wear with pleasure to yourself and honor to the Fraternity

Furthermore, the monitorial lecture of the second section adds on the “Badge of a Mason”:

The lamb has in all ages been deemed an emblem of innocence. He, therefore, who wears the lambskin as a badge of Masonry, is thereby continually reminded of that purity of life and conduct which is essentially necessary to his gaining admission into the Celestial Lodge above, where the Supreme Architect of the Universe presides.

As with all the symbols of Masonry, our emblems are richly variegated, and what may appear as a straightforward explanation may oftentimes contain deeper layers of meaning and symbolism as one contemplates the symbols. While the surface interpretations of our symbols teach a moral lesson, one may open up to deeper layers of interpretation with contemplation on the symbols, each layer building upon the previous one.

The first layer of instruction within the white leather apron is that of the moral teaching implicit in the Craft degrees. It is clear then that this emblematic device of the Craft represents innocence, honor, and the purity of life which is necessary for admission into the “Celestial Lodge.” Masonry instructs us that it is a “system of morality veiled in allegory and illustrated by symbols.” It has further been defined as a “science which is engaged in the search after the divine truth.”(Mackay). Both of these may be seen as indicators of the ethical structure of Masonry. A simple layer of interpretation of the white apron indicates that its placement at the waist is to purify the sexual instinct of man, which if left unchecked, has more often than not resulted in errors of thought, word and deed. Thus the purity alluded to with the color and placement of the apron has a practical, ethical instruction.

We have already seen that white is a symbol of purity. This color also represents the primal Godhead, which in the Kabala is referred to the sephira Kether, “the Crown.” The white apron is worn at the position of the svadhisthana chakra, hermetically associated with the planet Mars in its night house of the astrological sign of  Scorpio. This refers to the occult Mars Force, which in Hindu yogas is represented as the coiled serpent of Kundalini which is said to lie dormant at the base of the spine. This mars force, or kundalini, is the life force, that creative energy which is the very source and manifestation of life, and manifests naturally as the procreative power. On the Tree of Life, this is referred to the sephira Yesod, the Foundation. The fact that the apron is white indicates that this force, which is natural, is to be purified and consecrated to the work of spiritual illumination; in short, it is to be dedicated to the service of the Divine, symbolized again by the white color acting as a “shield” at the position of the procreative center. This interpretation is not a call for abstinence, but rather for a disciplined and focused channeling of the procreative urge. This focus has been termed occult chastity, in which the procreative urges are dedicated to illumination, or to Deity.

The apron is traditionally made of lambskin, which may be associated with the astrological sign of Aries.  Aries is the day house — the illuminated position — of the planet Mars, even as Scorpio is the Night house or unilluminated position. The sign of Aries is associated with the head, and in the Hindu yogas with the sahasara chakra or thousand and one petaled lotus. Kabalistically this again refers to Kether. The lambskin apron thus shows that the serpent power, represented by Mars and residing in the genital region in its natural (or “night”) state, is to be lifted up towards the Crown (the illuminated or “day” state) by means of purification and consecration, resulting in spiritual regeneration and illumination. It is the work of the initiate to so purify and exalt this primal mars force, raising the kundalini up the spine so that the force enters the cranium, resulting in spiritual consciousness. This is the work of regeneration, the Great Work of spiritual attainment. This may be seen as the symbolic creation of the Hexagram, or the Macrocosm.

It is through application of morality, in addition to the spiritual regeneration and redirection of the Mars force, that one may truly enter into that Celestial Lodge above, the majesty of the Divine which in the Kabala is Kether, the Crown. Knowledge of the esoteric significance of the apron acts as the initiated Key to unlock this Mystery of spiritual regeneration. It is then up to the individual Mason to so apply the Working Tools of our Craft to his physical, emotional, mental and spiritual vehicles that the Light of the Celestial Lodge may indeed radiate into the Sanctum Sanctorum of the Master Mason’s heart.

References

This paper is conjectural and speculative in the truest sense of the words. I am indebted to the various works of Paul Foster Case, Aleister Crowley, Alphonse Louis Constant (Eliphas Levi), and the Indian sage Vivekenanda in particular for the seeds of Light they have implanted.

The Stone Which the Builders Refused

Originally written 28 April 2007 (revised)

BACKGROUND

In the Ancient Mysteries, the quest for Gnosis or self-discovery was central to the doctrines and teachings. Across the portico of the Temple at Delphi (dedicated to the God Apollo and seat of the celebrated Oracle), were the words GNOTHI SEAUTON, meaning “Know Thyself.”

The journey of Freemasonry is the ongoing search for Light. Underlying all of our rituals, symbols, and teachings is this one essential element. The ongoing journey takes many forms to as many different people, but this journey for Light is arguably one of self-discovery, a search for Gnosis.

Countless systems of meditation and mysticism have developed across the world to address this eternal search for Light, to answer the great questions of existence. Whatever the origins of Freemasonry, it is clear that within our rituals is contained a remarkably vast ark of the worlds philosophies, mysteries, and systems of self-discovery. The rituals contain keys to the Royal Art, which if applied in earnest may help to attain the common goal of further Light.

WORDS AND NUMBERS

One of the techniques for mining the depths of symbolism in our rituals is that of applying the doctrines of the literal Kabbalah in an examination of some of the key words and symbols presented in the rituals.

In many ancient languages, numbers were represented by letters of the alphabet. Mystics concluded that the numerical value of words could be of significance, particularly when two or more seemingly unrelated words had an identical numerical value. The literal Kabbalah is a set of techniques that meditatively explore the relationships between letters of ancient alphabets, such as Hebrew, Greek and Latin, and their numerical equivalents.[1]

In S.L. MacGregor Mather’s introduction to his 1888 translation of Kabbalah Unveiled (Knorr von Rosenroth, 1684) one provenance of these techniques is given:

The Kabbalah was first taught by God himself to a select company of angels, who formed a theosophic school in Paradise. After the Fall the angels most graciously communicated this heavenly doctrine to the disobedient child of earth, to furnish the protoplasts with the means of returning to their pristine nobility and felicity. From Adam it passed over to Noah, and then to Abraham, the friend of God, who emigrated with it to Egypt, where the patriarch allowed a portion of this mysterious doctrine to ooze out. It was in this way that the Egyptians obtained some knowledge of it, and the other Eastern nations could introduce it into their philosophical systems. Moses, who was learned in all the wisdom of Egypt, was first initiated into the Qabalah in the land of his birth, but became most proficient in it during his wanderings in the wilderness, when he not only devoted to it the leisure hours of the whole forty years, but received lessons in it from one of the angels. By the aid of this mysterious science the law-giver was enabled to solve the difficulties which arose during his management of the Israelites, in spite of the pilgrimages, wars, and frequent miseries of the nation. He covertly laid down the principles of this secret doctrine in the first four books of the Pentateuch, but withheld them from Deuteronomy. Moses also initiated the seventy elders into the secrets of this doctrine, and they again transmitted them from hand to hand. Of all who formed the unbroken line of tradition, David and Solomon were the most deeply initiated into the Kabbalah. No one, however, dared to write it down, till Schimeon Ben Jochai, who lived at the time of the destruction of the second temple . . . . . After his death, his son, Rabbi Eleazar, and his secretary, Rabbi Abba, as well as his disciples, collated Rabbi Simon Ben Jochai’s treatises, and out of these composed the celebrated work called ZHR, Zohar, splendour, which is the grand storehouse of Kabbalism.

The literal Kabbalah consists of three techniques: Gematria (numerical value of words and their relationship); Notariqon, in which the individual letters of a word are taken as the initials of another word (or the reverse – a sentence may be reduced to a word); and Temurah, or permutation of letters according to specific rules.

Each of these techniques may yield rich results when applied to the rituals and symbols of Freemasonry. Albert Pike made great use of gematria and isopsephy in his many examinations of the words of the degrees of the Ancient & Accepted Scottish Rite. In Morals & Dogma Pike refers to Kabbalah as the “key of the occult sciences.”

A CONCEALED KEY

An example of Kabbalistic insight may be applied to the celebrated insignia in Chapters of Royal Arch Freemasonry — the Triple Tau. The Ritual gives several mottos which seem to allude to a concealed treasure or hidden truth:

Templum Hierosolyma (“The Temple of Jerusalem”)

Clavis ad Thesaurum (“A key to a treasure”)

Theca ubi res pretiosa deponitur (“A place where a precious thing is concealed”)

Res ipsa pretiosa (“The precious thing itself’)

There continues to be much speculation about this “treasure” and connections with the Knight Templar and mystic Rosicrucians. Perhaps these riches are much closer than we think, and of a decidedly different nature.

Kenneth Mackenzie, in his Royal Masonic Cyclopaedia, describes the Triple Tau:

Anciently the Tau was a mystical sign, not at all like the square letter Hebrew, but more cruciform, and almost identical with the ankh of the Egyptians, otherwise known as the Crux ansata. It was a mark in use among many ancient nations, and not peculiar to the Jews; and it is found among the Hindus, and these last placed it on the foreheads of their disciples. It was a symbol of salvation and consecration, and as such has been adopted as a Masonic symbol in the Royal Arch and in some other degrees of high Masonry.

General Albert Pike, writing from his office as Grand Commander of the Supreme Council of the Ancient & Accepted Scottish Rite of Freemasonry in his monumental tome Morals & Dogma, further adds:

The triple Tau, in the center of a circle and a triangle, typifies the Sacred Name; and represents the Sacred Triad, the Creating, Preserving, and Destroying Powers; as well as the three great lights of Masonry. If to the Masonic point within a Circle, and the two parallel lines, we add the single Tau Cross, we have the Ancient Egyptian Triple Tau.

A column in the form of a cross, with a circle over it, was used by the Egyptians to measure the increaswe of the inundations of the Nile. The Tau and Triple Tau are found in many Ancient Alphabets.

With the Tau or the Triple Tau may be connected, within two circles, the double cube, or perfection; or the perfect ashlar.

The Crux Ansata is found on the sculptures of Khorsabad; on the ivories from Nimroud, of the same age, carried by an Assyrian Monarch; and on cylinders of the later Assyrian period.

As the single Tau represents the one God, so, no doubt, the Triple Tau, the origin of which cannot be traced, was meant to represent the Trinity of his attributes, the three Masonic pillars, Wisdom, Strength, and Harmony.

The One God alluded to above is further described in Exodus 3:13 – 15:

13   And Moses said unto God, Behold, when I come unto the children of Israel, and shall say unto them, The God of your fathers hath sent me unto you; and they shall say to me, What is his name? what shall I say unto them?
14   And God said unto Moses, I AM THAT I AM: and he said, Thus shalt thou say unto the children of Israel, I AM hath sent me unto you.
15   And God said moreover unto Moses, Thus shalt thou say unto the children of Israel, the LORD God of your fathers, the God of Abraham, the God of Isaac, and the God of Jacob, hath sent me unto you: this is my name for ever, and this is my memorial unto all generations.

Other considerations of the nature of this hidden treasure aside, there is concealed Kabbalistically the very Triple Tau itself within these passages of the Bible.

The Hebrew name of the Great Architect of the Universe that is translated as “I Am That I Am” is אהיה אשר אהיה .

The Atbash cipher of Hebrew notariqon is a simple substitution cipher that takes the Hebrew alphabet and splits it in half and reverses it, substituting the corresponding letters; א transmutes to ת, ב changes to ש, ג to ר, and so on; essentially reversing the entire alphabet.

Applying the Atbash cipher to this Name of the Highest God, the three initial א’s of the phrase are transformed into three ת’s, thus revealing the Triple Tau.[2]

Through the application of Kabbalistic inquiry, this symbol may thus be seen as a representation of the name of the Most High, showing that thetrue hidden treasure of the Freemasonry is not necessarily buried underneath the Temple of Solomon (or Rosslyn Chapel!), but is concealed in the hidden chambers of our hearts.

SOLVE ET COAGULA

A lesson of the Royal Arch degree demonstrates another application of gematria which may unlock mysteries pertaining to the central doctrine of the ancient mysteries which is encoded in Freemasonry, the idea of Light in Extension.

A passage from Psalm 118:22 reads:

The stone which the builders refused is become the head stone of the corner.

In Hebrew, the phrase “the Stone which the Builders refused” is Ehben Masu Ha-Bonaim (ABN MASV H BVNIM). An interesting connection to Alchemy occurs here, in that the reference to a rejected stone recalls the idea of the Philosopher’s Stone, made up of materials that are commonly rejected or abhorred, but praised as the roots of philosophical gold by the alchemists. The root of the Hebrew masu means “to despise, reject, refuse.” Using the techniques of gemaria, the numeration of the entire phrase is 273.

Other Hebrew words which have this same numerical value:

ChVRM ABIV, Khurum Abiv – “Hiram Abiff”

AVR GNVZ, Aur Ganuz, — “hidden light”

Qabalistically one may intuit a connection between the Widow’s Son, the Stone which the Builders refused, and the concept of Hidden or Concealed Light. The cornerstone takes on a new, profound meaning with these added levels of symbolism encoded into it.

The Substitute for the Ancient Master’s Word may be a notariqon of this phrase:

MAsu HA BONaim

Thus, the word becomes indicative of the Light of Masonry in a very direct sense, referring to Hiram Abiff, the Cornerstone of the Temple, the Hidden Light. The symbols build upon one another, each taking one deeper into the heart of the matter.

Looking to the Greek language, there are two words of particular relevance that also enumerate to 273:

Anthanasia, “immortality.” Perhaps a further reference to the doctrine of the Third Degree.

Heh Kleis, “the key.”

The Key… Hiram Abiff… The Stone which the Builders Refused… The Cornerstone… Immortality… Hidden Light… all encoded into the substitute for the Word of a Master Mason, and the symbolism of the Sublime Degree of Masonry.

THE TANTRAS

The triple tau may be seen to show the viparita maithuna (female superior) position of Hindu tantrism. This is the classic position of several tantrik deities, showing the male shakta or Shiva lying prone, with the female shakti sitting astride him. Most famously, the images of Kali on top of the corpse of Shiva are depicted in this position. In his book Sexual Occultism, John Mumford describes the viparita thus:

Man lies down face up with the goddess surmounting and riding him. She clips his Lingam in her Yoni, using the powerful vaginal muscles to massage and milk him. Her clitoris is freely exposed to digital stimulation by him, which almost guarantees simultaneous orgasms. [Viparita maithuna] is noted for producing particularly strong vaginal sensations because of the stretch applied to the front wall of the vagina by the penis, which is forcibly pulled back from a normal forty-five degree angle.

In discussing the inert, corpse-like state of Shiva without his Shakti, Nitin Kumar writes in his article Shakti: Power And Femininity In Indian Art:

To regain his Shakti and return from his trance like state, the power of the goddess must repossess and complete him. This metaphysical process of union is depicted graphically through the act of sexual intercourse. But it is no regular act of making love. Here it is the woman who rides the male. In this inverted sexual position, the female straddles the male and is the prime mover and active power. This reverse act of lovemaking is known in Sanskrit as viparita-rati.

It should also be noted that the symbol of the Triple Tau,, is in the center of a red equilateral triangle. In the Hindu tantras this triangle is the yoni tattva, the central component of the Kali Yantra  the symbol of the creative womb of the Goddess. 

CONCLUSION

Whatever the original provenance and impetus of Freemasonry, it seems clear that encoded within the rituals is a profound doctrine of spiritual illumination or Gnosis. With the application of tools such as gematria, isopsophy, temurah and notariqon, a wealth of otherwise hidden wisdom begins to reveal itself. Applying the lamp of focused consciousness on these symbols, the treasure chest opens.

Symbols may be thought of as living, dynamic centers of energy. By focusing on them and taking them into deep contemplation, this energy is unlocked from within, revealing the Royal Art as a series of signposts in consciousness. By following these signs into meditation, we may eventually come away with a further, profounder understanding of ourselves and our position in the universe.

REFERENCES

King James Bible, various editions.

Agrippa, Henry Cornelius. Three Books of Occult Philosophy (ed. Donald Tyson). Lllewellyn, 2000.

Barry, Kieren. The Greek Qabalah: Alphabetic Mysticism and Numerology in the Ancient World. Weiser, 1999.

Case, Paul Foster. The True and Invisible Rosicrucian Order. Weiser, 1985.

Crowley, Aleister. The Equinox, Volume I number VIII. Weiser, 1992.

Mackenzie, Kenneth. Royal Masonic Cyclopaedia. Aquarian Press, 1987.

Mackey, Albert. An Encyclopaedia of Freemasonry and Its Kindred Sciences. (New & Revised, 2 vols). Masonic History Company, 1921.

Mathers, S.L. MacGregor. The Kabbalah Unveiled. Weiser, 1989.

Pike, Albert. Morals & Dogma, Supreme Council of the 33rd Degree AASR, 1950.

Pike, Albert. Sybolism of the Blue Degrees of Freemasonry (Albert Pike’s Esoterika). Transcribed & Edited by Arturo de Hoyos. Scotish Rite Resarch Society, 2005.

Rees, Julian. Making Light: A Handbook for Freemasons. Lewis Masonic, 2006.

Stirling, William. The Canon: An Exposition of the Pagan Mystery Perpetuated in the Cabala as the Rule of all the Art. Weiser Books, 1999.

Waite, A.E. The Holy Kabbalah. Citadel Press, 1995.


[1] Although the Hebrew Kabbalah is perhaps the most celebrated, there is a rich tradition of Greek isopsephy which utilizes similar techniques, and the Latin alphabet is filled with many examples. Masonry is treasure trove of Kabbalistic wisdom, Albert Pike perhaps being the champion of this research in Masonry.

[2] According to Dr. Hugh Schonfiled, Atbash may also be applied to a spelling of Baphomet (בפוםת ), which gives שופיא, a possible attempt in Hebrew of the transliteration of the Greek word sophia, meaning “wisdom”. (See http://www.templarhistory.com/atbash.html).

13 Dimensional Art

It was Nietzsche  that said “when you gaze long into an abyss the abyss also gazes into you.” (Beyond Good and Evil).  Mystics and adepts of western esoteric traditions have long been aware of this principle, although rarely have individuals taken their path to such visceral levels, emphasizing instead the LVX of the Tree of Life and the dayside or Solar mysteries of the Holy Guardian Angel.  This is the beginning of the path.

Once armed at all points, the journey to the depths of existence must commence in earnest. Certain advanced occult groups and individuals have made the exploration of the Void their focus; due to the very nature of such work, they tend to function as specialized cells forming secretive networks of travelers and explorers across space and time. For such, the distant stars and endless gulf of space are a matrix of time travel and indeed the very face of the Abyss, looking within.

The tantriks of Vajrayana and Hindu Vamamarga traditions have opened gateways to the Beyond and looked deep past frontiers of the known into that primal radiant darkness. In the cremation ground sadhanas of the Dark Goddess, the extra-temporal eternity of the Kalachakra, and the eternal presence of Dzogchen are embodiments of this secret tradition.

It is the artist perhaps that most directly opens to these grand vistas, and has the capacity to communicate what thy have experienced on the other side. Whether with visual, musical or poetic, the artist cohabitates most intimately with that nameless Void. As with the myth of Prometheus, stealing fire from the Gods and bringing it back to humanity, the artist travels to such realms of the empyream as are only glimpsed fleetingly by dayside consciousness. The artist conquers their fear and hesitation, leaping forward into the Unknown, and brings back such dark fruits as their capacity will permit.

One such artist working today is Malvika Jay. Her 13 Dimensional Art project is described by the artist as “(awakening) Fantastic, metaphysical and surrealistic subject matter, kaleidoscopic, fractal or paisley patterns, bright and/or highly contrasting colours, extreme depth of detail or stylisation of detail.” I would go further and say that what she has managed to convey oftentimes defies the minds capacity to analyze and label. The shadows drip like liquid light into vaguely recognizable forms, then again dissolve before your eyes only to recombine again into something else, something other. The closer you look, the more you realize that what was initially familiar is truly otherworldly, as new connections, new shadows radiate out into a spectrum of color that is not of this earth. This work is alive, and breathing, and right in front of your face. Even should you look away it is too late, for it has met your eyes and continues to stare deep into your soul, long after the visual image has subsided.

Do check out her ongoing magick that acts as gateways to other dimensions, time travel, extra-terrestrial and multi-dimensional entities, non-euclidean visions… Come close and warm yourself by the Fire she has stolen from the Stars. Look closely; you will be forever changed by what you see looking back at you.

13 Dimensional Art

 

 

 

 

Trees of Eternity

Kali

Unless occultism becomes creative in the sense of opening up new approaches, modifying and developing traditional concepts and generally revealing a little more of the Supreme Goddess whose identity is hidden behind the veil of Isis, Kali, Nuit or Sothis, there will be stagnation in the swamp of beliefs rendered inert by the recent swift acceleration of humanity’s consciousness, which is little short of miraculous. If the science of the unmanifest is not to remain grounded at a pre-pubescent stage, while the manifested sciences soar into space, the mature occultist must put aside the toys of superstition and face fearlessly the Trees of Eternity whose trunks and branches glow with solar fire, but whose roots are nourished in the dark. – Kenneth Grant, Nightside of Eden

 

Trees

Solve et Coagula: Alchemical Symbolism of the Double-Headed Eagle

A research paper that I wrote back in 2008. Also appears at Pietre-Stones with illustrations.

SOLVE et COAGULA:
ALCHEMICAL SYMBOLISM
of the
DOUBLE-HEADED EAGLE

PREFACE

One of the most prevalent emblems of the Scottish Rite is that of the Double-Headed Eagle.  Mentioned briefly in comparison to the white-lambskin apron of the Craft Lodge, the symbol of the double-headed eagle is perhaps one of the most ancient emblems in Scottish Rite, having been represented for thousands of years in many of the worlds cultures.

What is the significance of this symbol such that it has found its way into the mythology and symbolism of so many cultures over time? As a symbol, the image embodies many layers of meaning, each of which are significant. The eagle itself has always represented such ideas as nobility and just rulership. The large wings are protective, while the razor sharp talons inflict punishment to evil.  The noble white head indicates just and aristocratic ruler. Strength, courage, foresight and immorality have all been associated with this image.

What, however, of the double headed eagle? Something in this image speaks to humanity at a primal, archetypal level. As a symbol, it is capable of transcending language, race, history, time itself – and presenting to the mind a presence of transformation and the eternal truth of man’s real nature.

In order to understand this symbol we will necessarily have to venture into the recesses of the secret chambers of our hearts, the true sanctum sanctorum or secret shrine of the Divine. At the portico to the temple of Apollo at Delphi were said to be inscribed in gold letters the words GNOTHI SEUTON meaning “Know Thyself.” The symbol of the double-headed eagle will be found to harkens back to this simple instruction of the Greek sage Pythagoras; an instruction which is the gateway to Light and Truth, and the perfected nature of man when elevated to the highest.

 

HISTORICAL SIGHTINGS

In the Louvre are two large terra cotta cylinders dating from approximately 3000 BC covered completely in cuneiform characters. Recovered from the remains of the Babylonian city of Lagash they record the foundation of the city by Gudea. The cylinders recite the story of the King, how the county was in drought with the “waters of the Tigris fell low” and the people feared that the gods were displeased. King Gudea had a dream in which a divine man came to him; a man whose stature was immense, with his feet firmly on the earth and his head reaching to the heavens, and upon his head was the corona of a god surmounted by the Storm Bird that extended it wings across all of Lagash.  Read more of this post