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Surprise Discovery Of Magdalenian Mega-Art On The Aix Mountain: Majestic Open Secret Of The Lost Civilization (cont.)
By William Glyn-Jones

Devereux's Answer

How does one begin to make headway when looking for ways to access the mindset of the ancients? How can we begin to see with the eyes of the Lost Civilization, to recover their treasure, the Arcadian Dreamtime? Paul Devereux, an inspired and prolific writer on the subject of Earth Mysteries, asked this question of how to find the sacred sites of the ancients and the way that they viewed them, and proposed an answer based on the collation of great tracts of anthropological research. In The Sacred Place he describes how studies of many cultures on every continent have shown certain commonalities between places considered sacred. Indeed, he suggests that even where a tradition has been lost, we can make an educated guess that a site was considered sacred if (1) a lasting landscape form presents an intelligible shape, with a further category involving (2) slight enhancement of this simulacrum by human action, and with a third category being those having (3) some significant alignment to the heavens. Why should these features be so perennially and trans-culturally effective? Such universal ideas allow for a tuning into what Devereux calls "the imprint of the ancestors", and the work of biologist Rupert Sheldrake has shown that claims of the existence of such a phenomenon - the "presence of the past" - can be backed up with empirical support, suggesting that the Dreamtime of a sacred landscape feature actually exists as a culturally enriching morphic field.

The existence and preservation of ancient artefacts and sacred sites is a perfect record of ...[human] curiosities and passions [over the ages]. Your heart expands because the beauty held in form through time by caring humans centers you in 3D and expands via 6D morphic fields. You tingle and feel awestruck....This helps you to feel that you are free, that you are in harmony. - The Pleiadian Agenda, Barbara Hand-Clow

An irregular form suggesting something different (or nothing much in particular) to each individual viewer does not establish a strong collective field, for resonance relies on similarity. Just as sonic resonance occurs between strings of the same length or in harmonic ratio, as with the resonating un-plucked strings on a sitar, mental resonance is activated, across time, by similarity of idea. All thoughts about chairs have a certain similarity of definition, and that core essence of similarity is the Platonic Form of all chairs, call it if you like the Throne of Osiris, and associate it if you like with the Cassiopeia constellation. When we see the Universal within the Particular, a still life of a something like chair can be an iridescent, transcendent, angelic symphony, because of resonance. If there is no similarity of idea about how a landscape is perceived, then it will not receiving the vivifying influx of the Realm of Collective Ideas. You may get a virtuoso solo line in the present, but you won't get the harmony and magnificence of a great symphony reverberating across time. Narcissus would lose his Echo, the ancestors would fall dumb, and the sitar's spell would be broken. Conversely, where a lasting landscape form does look like some universally recognisable form, and this is honoured, the area develops an aura, a mist, a field which is called the Dreamtime. Where such natural forms are lacking or could do with a helping hand, enduring stone buildings can be erected which embody the most definable - and thus resonant - of all spatial forms, those of sacred geometry, and such buildings are called temples. So the site is consecrated and the aura develops. Why Category 3 - alignment to the heavens? The constellations are very ancient forms, visible to all, and grounding them into a site is therefore an act of alchemy, infusing this imprinted richness into the sense of place - Hancock's "Heaven's Mirror". And if this theory is true, as I strongly believe it is, then the notion that we would ever be so "modern" as to outgrow either the old myths of the landscape, or for that matter the brilliant classical traditions of architecture, such a notion is revealed as preposterous. We are all aborigines, fitting into two categories: those that have and those that haven't become dispossessed of our totems.

Any held in form by the morphic field of that object.... Many artists can see such fields, and the visual arts strive to make these fields visible, since they are actually the source of beauty in matter.
Beauty and desire are what cause things to come into existence in the first place, and a painter can make this visible....When an artist strives for true beauty, these fields can actually be felt and heard. - The Pleiadian Agenda, Barbara Hand-Clow

Continuing to the final room of the museum we see the rather more simplistic carvings of the Celto-Ligurian people who had a capital at Aix before the Romans arrived. They had their settlement upon on a hill overlooking Monte Sainte-Victoire, the mountain which they held sacred to their god of the wind, of the mistral, Vintour. So the god was envisioned solidified in mountainous form.

Kurunba [numinosity] is a metaphysical [Aboriginal] expression denoting the presence of a cultural layer within the landscape form itself that has been inspired by mythological contact with the Dreaming. - The Mysteries of the Dreamtime, James Cowan
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