Category Archives: Symbolism

The Lord of all Proud Beasts…

rs-332*

His skin is hard as rock.

His heart huge as a boulder.

His belly thick with spikes.

*

His eyes glow like dawn.

He sneezes and lightnings flash.

Flames leap from his mouth.

*

Smoke pours from his nostrils

like steam from a boiling pot.

His breath sets coals ablaze.

*

He looks down on the highest

and watches terror dance before him.

Is nothing on earth his equal?

*

‘Heart and Soul’…

*

The first key…

Bigger than me…

and inside, a box; identical but smaller, in order to fit, with another key.

*

Key number two…

As big as you…

whose mote is my beam, now clearly seen as I click the lock and find inside another box, identical but smaller…

*

Key number three…

What will we see…

as we flick the lock and peer inside the box? A heart, blood red and still beating…

*

The ground starts to shake with footfalls much bigger than me and a large eye appears at the church window.

‘Fee… Fi… Fo… Fum…’ says the Giant.

*

 

 

Bone Age…

 

*

Three skulls.

Three lives.

Three deaths.

*

One life for the minerals, substance of earth.

One life for the flowers, blossom of soul.

One life for the animals, projection of dream.

*

The dream of reason produces monsters.

The dream of love produces life.

The dream of death produces light.

*

Three skulls.

Three deaths.

Three lives.

*

Stone is the bone of earth.

Doors of Conception…

“Excuse me…”

I woke up and looked at the walking stick  insistently tapping my boot, then up at the black face in the sun, and shaded my eyes…

“…Do you want to be human?”

The voice was young, but also insistent. The black face in the sun had spiky hair.

“…thought I was human.”

The black spikes shook, “You’re currently all lopsided.” The stick pointed down a hole in the earth by my side, “You see the three doors?”

It was true, there were three transparent doors… superimposed…

“First is mind, then movement, finally heart… doors to humanity. You coming…?”

 

Threshold…

rs-266*

We live with hidden presences.

The village street, its air heavy under the hot sun, its surface baked hard beneath our feet, is lined with dwellings.

Vessels of the, as yet, unknown…

Before we enter any one of these home-steads we are confronted by a labyrinth painted in brightly coloured sand.

As the morning sun rose through the sky the Mistress of the House laid out this elaborate design and we cannot now enter her dwelling without passing through this pattern, the new focus, of those auspicious natural forces.

A protective screen now guards the home.

We cannot see that screen, we can only see the focus.

A reflection of the inner workings of cosmos has been externalised at the boundary: that line which divides inner and outer; the pure form from the purely chaotic or accidental.

The boundary is always fraught with danger.

It represents the primal division at the heart of all things.

A wholeness has been rent so that creation can occur.

This labyrinth is a symbol but it is also both more-and-less-than any symbol. As the day progresses it will be worn away by many feet entering and exiting the house. The coloured sand will mingle with the dust of the street. The symbol will lose its true form like the stone temples and that illusory stability which sees them abandoned when their utility is spent. They are both constructed, despite the appearance, merely to capture the momentary, unpredictable reality of the unseen.

Labyrinth and temple express an untold reality as that which is hidden but held in external form.

Both are held open for the invisible yet still, in other ways, sensed powers.

Both then hold these powers in partial and temporary control.

Both mark a transition from inner to outer and suggest movement to come…

Like all vessels of divinity they are potential turning points.

They contain and obfuscate.

Imbued with powers of their own they yet point beyond themselves to the divine wholeness.

We forget this at our peril.

*

Ars Geometrica: Seal…

hm15-1471*

‘For God created man immortal, and made him in the image of his own eternity.’
– The ‘Twentieth’ Leaf

The preceding image we had to own did not seem to us particularly god-like.

We turned the leaf:

7The Twenty-First Leaf

…Although that description most definitely did.

Finally we came to the last leaf of the little gold-plated book.
It did not come before time.
Already a golden dawn was beginning to blaze through the blinds of our study window.

The Twenty-Second Leaf looked like this:

8We walked to our bedroom in a daze, collapsed on the bed, and fell into a fitful sleep.
We dreamed of two rooms the exact reverse of each other.
One was in shadow.
The other was lit.
We awoke around Noon.
We walked into the living room to find the window open and the little golden book gone.
We fell to our knees and sobbed.

On the study desk were our rough copies of the material we had found in the book.

How had she done it?
Where had she been?
And why didn’t she use the door?

The door may be watched, came the answer.

We remembered our dream and walked back into the bedroom.
We opened one of the mirrored doors to our wardrobe.
There on the floor lay a leaf from the little golden book.
Was it ‘the missing leaf’?
If it was, it was not what we were expecting.

The Twenty-Third Leaf:

9On the back was a seal:

10*

Ars Geometrica: A Corn of Wheat…

silent-eye-master-n9-soul-devpt-smaller

*

‘…then a triangle and finally a circle……’
– The ‘Eighteenth’ Leaf.

…This to our mind pretty much makes the earth feminine and the moon masculine which we expect also makes the sun feminine and the star behind the sun masculine. And that is pretty much how the Egyptian’s had it.
We surmise that at this point there maybe at least one missing leaf to the book delineating in much more detail the geometries of earth and moon.
…But what of the sun?

*

We turned the ‘Eighteenth’ Leaf…

4

‘…Except a corn of wheat fall into the ground and die it abides alone…’

The ‘Nineteenth’ Leaf

*

Which we must assume is referring to the sun.

We turned the ‘Nineteenth’ Leaf aware somewhere in the recesses of our overstretched brain that the moon and sun cycles are conjoint in their nineteenth year.

*

The ‘Twentieth’ Leaf

5

‘…But if it dies it brings forth much fruit.’

*

…Which leaf, incidentally, concludes the geometric designs contained in the book.
The ‘Twenty-First’ Leaf introduced a picture of sorts which to us again appeared to echo some of the Egyptian ideas:

6*