Surprise Discovery Of Magdalenian Mega-Art On The Aix Mountain: Majestic Open Secret Of The Lost Civilization (cont.)
By William Glyn-Jones
Sainte-Victoire as Category 3 Sacred Site : The Return of Aslan
Wrong will be right when Aslan comes in sight
At the sound of his roar, sorrows will be no more
When he bares his teeth, winter meets its death,
And when he shakes his mane, we shall have spring again. -
"Mythopoetic" is an alternative form of "mythopoeic", a word coined from Greek roots meaning "the making of a new myth." Tolkein coined the term to describe the mythological mixtures used in his fantasy novels, and his friend from the Oxford University English department, C.S.Lewis, produced a fine example with his Narnia Chronicles, which have now sold over 100 million copies worldwide. Truly, a myth has been made, solidified in the collective realm of mythic space by its own strong collective morphic fields. The great hero of these chronicles is the mighty and benevolent lion Aslan. This golden, warm, giant flying feline brings the Spring, casting off the cold times of the Ice Queen. The Magdalenian culture flourished in the period during which the last major ice age gradually ended and the Earth warmed up. Narnia is a mishmash of mythologies, combining for example Greek and Roman mythological figures such as centaurs and fauns with elements of Celtic legend. As mentioned above, we know from their cave art that half-animal half-man figures were part of the Magdalenian imaginative (and/or shamanic) scope, figures that would not have been out of place in Narnia. And in subsequent history Provence has witnessed the comings and goings of Celts, Greeks and Romans, again making the Narnian mishmash rather appropriate.
"Mythopoetic" is now used in alternative history/Earth Mysteries/re-enchanting-the-land circles to communicate that a particular speculation, while it may indeed conceivably be historically correct, is to be considered not so much just from the rational, historical perspective, but more from poetic, mystical, multidimensional angles which provide it with a different kind of validity.
With such mythopoetic open-mindedness we may continue with increasing curiosity, for Plato has the dominion of the Atlantean kingdoms stretching west along the Med coast during the Late Magdalenian period from Iberia into Italy, and this area does indeed include Provence, while the commonality of artistic tradition exhibited by the Cave Painters across a wide area indicates that there was indeed some kind of grand organisation to the culture, perhaps centrally orchestrated. (Settagast, Plato Prehistorian.) Settagast refrains from actually calling the Magdalenians "Atlanteans", but does use the implicit term "Atlantics", which is justified by their homelands being in Western Europe.
By Plato's timing Atlantis was a majestic culture during the Age of Leo, namely when the Sun was in the constellation of Leo during the Spring Equinox, Aslan ending the reign of the Ice Queen, and now we are warming to our mythopoetic scenario. Recall that it is while facing due east from Aix that we see the leonine profile. From other directions, the profile is very different. You only have to go a little way north or south and the lion disappears. It is an East-specific appearance. Also, the orientation is the same as the constellation figure - the lion in the East faces south, with tail to the north. Leo lies crouched on its front, just like Mont Sainte-Victoire seen looking East from the hill above Aix. Sky and Earth were in alignment as the Sun rose due east in Leo at Spring, the time of year when the ice melts...the Return of Aslan. And now as we edge into the Age of Aquarius, again there is an equinox alignment. Leo houses the Sun due east at sunrise at the Autumn Equinox during the Age of Aquarius while the grapes are fully ripened in the vineyards. The wardrobe of the Narnia stories starts to look like a time-portal into that former age, Aquarius back to Leo.
Actually, if we look at sources such as Ovid’s Fasti we find that the timing of sacred rites connected with particular constellations was often arranged to coincide not with the rise of the constellation at dawn while containing, and thus obliterated by the light of the Sun, but rather at a time when that constellation became visible again in the evening sky. These were the constellations that made an impression during a particular month. While the hardworking farmer might be up early to attend to his chores, the timing with the evening appearance makes greater sense to societies of late risers, which includes not only city dwellers, but also, one assumes, pre-agricultural hunter-gatherers. And when we consider it like this, it is the Age of Aquarius, into which we are currently emerging, in which the Lion of the sky is seen rising due east, just after sunset, aligned with the Aix mountain simulacra.
"It is always from the East, from across the sea, that the great Lion comes to us." -
In this poetically speculative theory, we then trace the Atlantean migration to and settlement of the Nile when Europe got cold again during the mini ice age of the Younger Dryas, with the Sphinx being carved in Egypt around that time simply because of a longing for the great Dreamtime totem of the land they left behind, because they wept at parting with the custodian of the imprint of their ancestors and the genius of the stellar lion.
In the special learning process of initiation, boys are often taken to sacred places which are often secret places. Their sacredness is sometimes marked by art of one form or another, whether portable objects, stone or earth arrangements or rock pictures....A Ngarinyin elder says: "I take the Mandangarri boy to the place. I say, this is your totem: you belong here." -
The mythopoetic way of describing this treasure is fabulous fuel for the sense of wonder : a majestic Atlantean leonine sculpture on a shining Mediterranean mountain, sphinx-like in perspective looking East, resonates with the stars and holds the keys of activation of the Hall of Records: the perceptual treasures and culture codes of the lost antediluvian civilization.
Simulacra in Antiquity and the Renaissance
In antiquity we find Roman writers such as Pliny and Cicero describing the way that Nature can create simulacra, such as the image of Silenus or of the god Pan in a block of marble. Later, in the formative years of the Renaissance, Alberti wrote that "it is evident that Nature herself delights in painting, for we observe She often fashions in marble hippocentaurs and bearded faces of kings." In his De Statua Alberti wrote of how man's image making itself has its origins in our observation of such images in the shapes of trees and other natural forms. It was quite possibly under the influence of Alberti that the painter Mantegna introduced obvious simulacra in the clouds in his studiolo painting for Isabella d'Este, Virtue Expelling the Vices, where we see the faces of gods, and the image of a rider on a horse also from the shapes of clouds in his St. Sebastian.