Site logo

THE ARCANUM & ALCHEMY - GIFTS FOR YOUR THIRD EYE CONTACT US FOR PRINTED MEDIA
  • Stacks Image 465

    Caption Text

    Link
  • Stacks Image 466

    Caption Text

    Link
  • Stacks Image 467

    Caption Text

    Link
  • Stacks Image 472

    Caption Text

    Link
  • Stacks Image 480

    Caption Text

    Link
  • Stacks Image 481

    Caption Text

    Link
  • Stacks Image 482

    Caption Text

    Link
  • Stacks Image 483

    Caption Text

    Link
  • Stacks Image 484

    Caption Text

    Link
  • Stacks Image 485

    Caption Text

    Link
  • Stacks Image 494

    Caption Text

    Link
  • Stacks Image 495

    Caption Text

    Link
  • Stacks Image 501

    Caption Text

    Link
  • Stacks Image 502

    Caption Text

    Link



MYTHOLOGY DECIPHERED


©2013 Dorian Taddei

The term alchemy (from the Arabic Al kepi) is a term that is almost universally misunderstood in modern times. One of the first definitions one sees if searching online is that alchemy was the attempt to make lead into gold. Alchemy is also universally referred to as a primitive form of chemistry. These ideas are actually erroneous.

Found on all continents, among all ancient peoples, are examples of the same ideogrammatic, esoteric glyphs and complex glyphs (sigils). These are neither primitive, nor an indigenous system of marks, but was taught to initiates across the earth. Those who taught these glyphs and the science these deceptively simple marks encoded, was the oldest knowledge on earth, and the most closely guarded. As a secret, sacred science, modern (non-initiated) Man with his rational explanations and euro-centric interpretation of secular history, is in no position to recognize his ignorance of the high levels of achievement of his archaic antecedents. Instead he re-invents himself the 'master of the universe', disregarding some 600,000 years of science and spiritual advancement. He — modern man — also does not recognize the truth: that he is devolving, not evolving. Our ancestors were spiritually and intuitively more advanced than we are today. Our physical brains are shrinking, and a majority of our species has even lost the ability to even care about our own existence. We slave on toiling in Samsara, our minds trapped in the Maya of our own illusions, oblivious to who and WHAT we really are.

As recorded in the Gnostic Gospels, Jesus Christ (the greatest bodhisattva of any age) had this to say about those who do not "know" themselves:

"When you know yourselves, then you will be known, and you will understand
that you are children of the living Father. But if you do not know yourselves,
then you live in poverty, and you are the poverty."



Stacks Image 27

Two petroglyphs portraying the Tree of Knowledge and the Tree of Life, sit side-by-side near Walker Lake, Nevada (USA) ca. 2300 BCE - 500 BCE.


KOLAM • LABYRINTH CONNECTION

Anthropologist John Layard triggered interest in the Melanesian sand designs of Malekula (the largest island in the Vanautu chain of islands in Melanesia) with his discoveries in the early 20th century.

“Melanesian† sand drawings and associated myths had an uncanny resemblance to the labyrinth patterns and associated myths found in Crete, Central Africa, Scandinavia, Ireland and Scotland. It was the complex of parallels — not just similarity in diagrams — that was intriguing. For some still-poorly understood reason, megalithic cultures (roughly 1000 – 300 B.C.E) seem to have settled on the labyrinth as the key to the spiritual control of thresholds.”

Consider this example taken from the research of British anthropologist John Layard. The "tic-tac-toe" figure on the left is from Malekula; the one of the right is a tattoo pattern from Tamil Nadu (southern India). Layard thought the Tamil Nadu design "technologically degraded" as compared to the one from Malekula; the latter is a true maze, is produced by a single line and looks more complicated on the whole. The object on the left is from Malekula; the one on the right is the "pavitram" kolam. The two figures are curiously similar. It’s as if one figure is a remembered version of the other. The connection between kolams and Malekula sand-figures was not noticed by Layard (who was unaware of the existence of kolams), but by F. A. Richards. The latter had heard about the Malekulan figures at a meeting of the Cambridge Anthropological Club in 1927; he immediately sent Layard two Indian books filled with kolam diagrams. Also at that meeting was an Indian lady, one Mrs. Gnana Durai. In her words:

"On October 19th, 1927, Dr. Haddon read a paper before the Cambridge Anthropological Club on the late Mr. A. B. Deacon’s investigations in Malekula, in which he referred to and showed examples of the geometrical diagrams which Mr. Deacon had discovered in that island. This at once recalled to my mind that analogous diagrams are constructed every day among the Hindus of the Madras Presidency."
Stacks Image 679

Kolam and Labyrinth Connections


LABYRINTH OF INCARNATIONS


This cross-cultural pattern is found around the world as the Tetraskellian, the Gammadion, the so-called Knott of Solomon, is the basis for the Eternal Knot of the Tibetans, and was simplified (for the sake of the carving or petroglyphs into hard stone) into the Svastika. All of these are similar, because they are derived from visual phenomena associated with the early religious rituals involving the use go entheogens. This symbol is what we refer to as “form geometry’. It is produced by the visual cortex of the brain, as a tessellated resonance drawn from the aether itself. Its closest analog in our modern times is the modality in mathematics called the fractal.

The mind ‘sees’ the infinitely small fundaments structure of the aetheric fabric, projecting it into a visual play of fluid geometric ‘form geometry’, which underlays other visual data interpreted from the eyes. This fluid geometric filter alters the visual information being fed to the brain, by the eyes, and as our brains interpret the imagery we see with our eyes, underlaid by this form geometry, this has often interpreted as a burring (heat waves) or melting illusion. The heat rising off a desert, which distorts what we see in the distance, is commonly experienced visual analogy.

The incarnating consciousness is subjected to the aetheric medium as it enters into a body. The ancient rebirthing ceremonies (endogenic ego-dissolution experiences, often associated with sensory deprivation), such as the ancient gnostic-Christian tradition of the “baptism of fire,” all refer to these same experiences. Those entering back into the physical body, experience their mind/spirit following the ‘crooked paths’ (Thoth) of the labyrinth of aetheric consciousness, as they drop back into their bodies. Because they were not dead prior to this experience, they recall the experiences. For this reason the symbol of the gammadion (we prefer tetraskellion) is the single, globally recognized symbol ,of the re-birthing rituals of the ancients. This symbol records the human experience of our ancestors and they voyages to inner space, as remembered through the oldest religious ceremony on earth, the labyrinth dance.

This dance of rebirth is also linked to the alchemical wedding, or Hieros Gamos (Greek). Hence, we should not be surprised to find this connection was retained in the mythos of ancient cultures who were separated by the devolutionary decay of modern ideas and secular practices, those that replaced the earlier, cosmic religious mindset of archaic times.

As more evidence for these claims, we invite the note what these diagrams represent to their respective cultures. In Malekula, the sand-diagrams represent labyrinths marking the boundary between the end of one life and the beginning of the next. As John Layard put it:

Stacks Image 685
“In Malekula, these . . . rites . . . include the whole male population. Here, the mortuary labyrinth has been reduced to a geometric design drawn in the sand by a female Guardian ghost. As the ghost of the dead man approaches (for men only can attain future life) she rubs out half the design. The dead man must complete the design and walk over it before entering the land of the dead. [These predated any Egyptian society, but Layard noted also that] . . . the object of the [Egyptian] labyrinth was in the first place to exclude the uninitiated from participation in the life after death . . .”

Layard argues that kolams retain much of this symbolism.

They too are drawn on thresholds. They too are associated with transition stages, such as sunrise, birth, death and marriage ceremonies. It is the women who draw the kolams, and it is usually the man of the house who first walks over it, erasing what has just been drawn. Just as the physical mortuary labyrinth of Crete got abstracted out into a sand-figure representation in the Malekula culture, amongst the Tamil, the idea of the labyrinth got gradually displaced by the even more abstract notion of threshold. The diagrams were retained, but the interpretations changed, so much so that the current explanations for why the kolam is drawn have no resemblance to the reasons of the Malekulan native.”


Kolam: What The Hand Said « Round Dice

“There are many other connections as well. The word "kolam" refers to a kind of dance in Sri Lanka, one involving masks and complicated steps. The Malekula also have masked dances in which they play out the shapes of particular sand-diagrams. So on and so forth. It really is an anthropological wet-dream.

“Layard speculated, in passing, that both kolams and Malekula sand-diagrams were offshoots of a single megalithic culture, possibly of east or south-east asian in origin. Recent genetic studies would seem to support this theory. Given the nature of genetic studies, the data could probably be tweaked to support almost any other hypothesis. For all we know, one of Thor Heyerdahl’s ancestors may have seeded the whole damn Melanesian world.”