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Mary Magdalene & the Gnostic Gospels

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Author Topic: Mary Magdalene & the Gnostic Gospels  (Read 4507 times)
Mia Knight
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« on: April 05, 2007, 10:26:58 pm »

During this same period, there was a sudden rising interest in the schools of Hermetic and Egyptian secret alchemical knowledge. It was also in this era that several hundred Black Madonnas were placed in chapels and cathedrals reaching beyond Medieval Europe to the east into Russia, and north to Britain. Ean Begg, author of ‘The Cult of the Black Virgin’, says that many of these Black Virgins were brought out of the near east by the Knights Templar. Author Lynn Picknett (‘Mary Magdalene’ and ‘The Templar Revelation’), feels that Magdalene may have even come from Ethiopia, a dark-skinned, powerful and wealthy queen. These dark-colored mother and child images are often associated with Isis and Magdalene cults, the dark Mother Goddess nourishing her children, and associated with the hidden mysteries of the sacred marriage or Hieros Gammos and the alchemy of high sexual magic. Similar ‘madonna’ images can be seen in Egyptian temple scenes with Horus at the breast of his mother Isis.


"I am black, but I am comely, O ye daughters of Jerusalem."
Solomon and Sheeba’s ‘Song of Songs’




(left) 'I Am Black, and I Am Comely', Rosslyn Chapel Crypt
(right) Wooden Black Madonna, Salisbury Cathdral

Between 1100-1300 AD hundreds of Gothic Cathedrals were constructed, fired by the mystical visions of St. Bernard of Clairvaux and his close involvement with the Crusades and the formation of Order of Knights Templar. It was St. Bernard who wrote the first Templars’ Rule, during their formation in Jerusalem in about 1118 AD and played a key role in their official papal recognition at the council of Troyes in 1129 AD. (More on the Templars later). Templar symbols are found carved in these Gothic edifices, a rare fusion of Pagan and Christian roots, alluding to the alchemical sciences of sacred geometry, sound, astrology, genetics and the technology of transformation. These great Gothic cathedrals, such as the ones at Chartres, Notre Dame in Paris, Salisbury, St.Denis, and Cluny were dedicated to Notre Dame, Our Lady, thought originally to be Magdalene. Most were also home to the Black Madonnas.


"The huge number of Gothic cathedrals that were erected, as graceful and sublime as if they were designed in heaven, have yet to be surpassed for their dignity and spiritual potency, almost a thousand years later."
‘Dance of the Dragon’ by Paul Broadhurst and Hamish Miller

(The authors discovered many of these cathedrals are located on a major energy grid they call ‘The Apollo- St. Michael axis’, and stretches from Britain’s St. Michael’s Mount to Mt. Carmel)
The sacred architecture employed in these majestic structures reflected a new ‘alchemical light and specific acoustical properties’, according to ‘Dance of the Dragon’ authors, that was conducive to the constant rounds of perpetual choirs maintained by the monks. Interestingly, it is precisely at these millennium shifts, when perpetual chanting becomes a device of the collective creative intention. Sacred music and chant is always with us, but surges in its necessary popularity at these crucial turning points, as during the inception of Christianity in the first century AD, during the beginning of the first millennium, and now as we forge a new paradigm and write our ‘script’ for the next one thousand years.

If we read between the historical lines, a pattern can be seen here, with an inner circle of key players stirring the pot of change. These courageous and inspired pioneers of the Spirit were laying the foundation for a future second millennium renaissance. Now is the time for us to remember the true story of our tribal myth, a story that embraces the Holy Grail of union, love and beauty–a story that calls us to become empowered, whole and fully human.
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