P R O C E S S
I n n e r S h a n g r i - L a
The creation of this painting was inspired by my deep spiritual transformation which has initiated in 2008. This artwork went through many cycles of process and elaboration. It is a reflection of the great inner shift I have undergone. It represents my heart.
I have dedicated a tremendous amount of work, time and love creating this artwork while being in the sacred space within my heart.
I N S P I R A T I O N
The photo used for creating this artwork is from one fashion project where I've performed: model, art production and make up. Later on, deeply moved and inspired by the tremendous change of an inner awakening, I was drawn to create a collage using this photo as a symbol of my personal transition from ‘fashion’ outward world of appearances, to the inner world within me, that sacred limitless space in the human heart.
The picture reminded me of one very ancient symbol originated in Egyptian iconography, a serpent or dragon eating its own tail. This symbol is first seen as early as 1600 years BC in Egypt as a symbol of the sun, and represented the travels of the sun disk. From there it moved to the Phonecians and then to the Greeks, who gave it its name, Ouroboros, which means "tail-eating".
This symbol can be seen in many different ancient cultures and it has been used in Greek magical tradition. Later on it was adopted as a symbol in Gnosticism, Hermeticism and Alchemy.
In mythology, the Oroborus is a symbol representing the Milky Way galaxy. Myth refers to a serpent of light residing in the heavens. The Milky Way is this serpent, and viewed at galactic central point near Sagittarius, this serpent eats its own tail and since my horoscope sign in western astrology is Sagittarius and in the Chinese Snake, I felt deep synchronicity.
The ouroboros is an ancient symbol depicting a serpent or dragon eating its own tail. Drawing by Theodoros Pelecanos, in a 1478 of an alchemical tract attributed to Synesius
Many ancients used the galaxy to calculate cosmic and earth cycles. This symbol often symbolize self-reflexivity, introspection, the eternal return or cyclicality, especially in the sense of something constantly re-creating itself.
Carl Jung interpreted the Ouroboros as having an archetypal significance to the human psyche related to the process of individuation, which he described as the process in which the individual self develops out of an undifferentiated unconscious – seen as a developmental awareness process during which innate elements of personality, the components of the immature awareness, and the experiences of the person's life become integrated over time into a well-functioning whole.
The Ouroboros has been said to have a meaning of infinity or wholeness. In the age-old image of the Ouroboros lies the thought of devouring oneself and turning oneself into a circulatory process, that the prima materia of the art was man himself. The Ouroboros is a dramatic symbol for the integration and assimilation of the opposite, i.e. of the shadow. This 'feed-back' process is at the same time a symbol of immortality, since it is said of the Ouroboros that he slays himself and brings himself to life, fertilizes himself and gives birth to himself. He symbolizes the One, who proceeds from the clash of opposites, and he therefore constitutes the secret of the prima materia which unquestionably stems from man's unconscious.
In other words, the Self is the creator and the creation, and the journey in between are the cycles of the existential experience realizing this truth. All came from One and All shall return to One.
Plato described the ouroboros as the first living thing; a self-eating, circular being — the universe as an immortal, mythologically constructed entity.
"The living being had no need of eyes because there was nothing outside of him to be seen; nor of ears because there was nothing to be heard; and there was no surrounding atmosphere to be breathed; nor would there have been any use of organs by the help of which he might receive his food or get rid of what he had already digested, since there was nothing which went from him or came into him: for there was nothing beside him. Of design he created thus; his own waste providing his own food, and all that he did or suffered taking place in and by himself. For the Creator conceived that a being which was self-sufficient would be far more excellent than one which lacked anything;
and, as he had no need to take anything or defend himself against any one, the Creator did not think it necessary to bestow upon him hands: nor had he any need of feet, nor of the whole apparatus of walking; but the movement suited to his spherical form which was designed by him, being of all the seven that which is most appropriate to mind and intelligence;
and he was made to move in the same manner and on the same spot, within his own limits revolving in a circle. All the other six motions were taken away from him, and he was made not to partake of their deviations. And as this circular movement required no feet, the universe was created without legs and without feet."
Order of Rigden Jyepo 1927 by Nicholas Roerich
S H A N G R I - L A
It is said there is a space within a human heart wast as the universe. A sacred space seeded with spark identical to the Source of All Creation — an inner Sun. All which is pure and divine spring from this sacred space. In the ancient scriptures from different religious and belief systems there is mentioning that all creation is based on the same principle and is endowed with the seed or element from The Source — a Spark of Light. As there is in the human heart a luminous sacred space of great power, joy and purity, so our planet has the inner space where a very advanced world exists with its people.
Much is written about Agartha. The word "Agharta" is of Buddhist origin. It refers to the Subterranean World or Empire. It is said that this Subterranean World has millions of inhabitants and many cities, all under the supreme domination of the subterranean world capital, Shamballah as well called Shangri-La, where dwells the Supreme Ruler of this Empire, known in the Orient as the King of the World. It is believed that he gave his orders to the Dalai Lama of Tibet, who was his terrestrial representative, his messages being transmitted through certain secret tunnels connecting the Subterranean World with Tibet.
In the ancient Tibetan scriptures, existence of seven such places is mentioned as Nghe-Beyul Khembalung. Khembalung is one of several beyuls ("hidden lands" similar to Shangri-La) believed to have been created by Padmasambhava in the 9th century as idyllic, sacred places of refuge for Buddhists during times of strife.
Similar to the mysterious honeycombed tunnels in Brazil.
Brazil in the West and Tibet in the East seem to be the two parts of the Earth where contact between the Subterranean World and the surface world may be most easily achieved, due to the existence of these tunnels.
Order of Rigden Jyepo 1947 by Nicholas Roerich
The famous Russian artist, philosopher and explorer, Nicholas Roerich, who traveled extensively in the Far East, claimed that Lhasa, capital of Tibet, was connected by a tunnel with Shamballah, capital of the subterranean empire of Agharta. The entrance of this tunnel was guarded by lamas who were sworn to keep its actual whereabouts a secret from outsiders, by order of the Dalai Lama. A similar tunnel was believed to connect the secret chambers at the base of the Pyramid of Gizeh with the Subterranean World, by which the Pharaohs established contact with the gods or supermen of the underworld.
The various gigantic statues of early Egyptian gods and kings, as those of Buddha found throughout the Orient, represent subterranean supermen who came to the surface to help the human race. They were emissaries of Agharta, the subterranean paradise which it is the goal of all true Buddhists to reach.
Buddhist traditions state that Agharta was first colonized many thousands of years ago when a holy man led a tribe which disappeared underground. The gypsies are supposed to come from Agharta, which explains their restlessness on the Earth's surface and their continual travels to regain their lost home.
This reminds one of Noah, who was really an Atlantean, who saved a worthy group prior to the coming of the flood that submerged Atlantis. It is believed that he brought his group to the high plateau of Brazil where they settled in subterranean cities, connected with the surface by tunnels, in order to escape from poisoning by the radioactive fallout produced by the nuclear war the Atlanteans fought, which brought on the flood that submerged their continent. The subterranean civilization of Agharta is believed to represent a continuation of Atlantean civilization, which, having learned the lesson of the futility of war, remained in a state of peace ever since.
There was discovered a secret map which dates back to the 1940's belonging to the 'Third Reich', or "Großdeutsches Reich" ("Greater German Reich"; word "reich" is in german for "realm") displaying the direct passageway used by German U-Boats to access a subterranean domain. The map also details both hemispheres of our planet as well as the so-called inner kingdom of Agartha.
Incredible and detailed story of Admiral Richard Evelyn Byrd, an American naval officer and explorer, about his encounter with the advanced civilization from Agartha is quite mind opening to many who are ready to see the truth.
Here you can read the full records of his Secret Diary.
A B O U T T H E S Y M B O L
No one suspects that the Divine Self is dwelling within.
Man can only find his own Divine being within himself, never by directing his
attention towards the outside world.
The ancient symbol on the painting of the two tetrahedrons or triangles united creating a star, is called Merkabah which in the ancient Egypt was referred to a rotating light that would take the spirit and the body from one world into another. "Mer" means Light. "Ka" means Spirit. "Bah" means Body. Mer-Ka-Bah means the spirit/body surrounded by counter-rotating fields of light (wheels within wheels; the two tetrahedrons rotating in opposite directions) which transports spirit/body from one dimension to another. Technically, it is an electro-magnetic field that is geometric in nature. The Merkabah field is extremely complex, involving the five Platonic solids and other sacred polyhedrons. It is believed to extend through all possible dimensional and parallel universes, and can possibly change its nature from electro-magnetic to whatever is appropriate. The Merkabah is situated around the human body like a three-dimensional geometric web that is dormant and non-functional, waiting for the right moment. When the spirit that inhabits the body remembers that it is there and begins to change certain aspects of itself, an incredible transformation begins to occur.
“There is only one creature which is able consciously to combine the two laws: man. He is the connecting link between the world of the spirit and that of matter. He is able to live at one and the same time by the laws of both worlds. His thoughts, words and deeds can be an act of giving, radiating selflessness and universal love. On the other hand, his body belongs to the material world and lives by the laws of matter.”
Merkabah symbol has been accompanying our human history throughout many cultures and religions giving it different names. In Buddhism, some old versions of the Bardo Thodol, also known as The "Tibetan Book of the Dead", contain this symbol of hexagram with a Swastika inside. In Tibetan, it is called the "origin of phenomenon" (chos-kyi 'byung-gnas). It is especially connected with Vajrayogini, and forms the center part of her mandala.
Painted 19th century Tibetan mandala of the Naropa tradition, Vajrayogini stands in the center of a red hexagram, Rubin Museum of Art
Vajrayogini is a tantric deity with no counterpart in Mahayana Buddhism. She is a dakini, literally a "sky-dancer", and figuratively a wild spirit who dances ecstatically in the clear blue sky of sunyata. She is usually depicted as blood red in colour, naked except for elaborate ornaments of human bone, and a necklace of skulls, corresponding to the sixteen vowels and thirty-four consonants of the Sanskrit alphabet, and symbolising the purification of speech. In her right hand she holds a flaying knife with a vajra handle, a vajra chopper which she uses to cut off attachments. In her left hand is a skull cup filled with mahasukha (the great bliss) which she pours out like wine to her devotees. In the crook of her left arm she cradles a khatvanga or magic staff. Her iconography is rich and multifaceted.
Vajrayogini, is a representation of complete Buddhahood in female form, whose practices are associated with the Chakrasamvara Cycle of Anuttarayoga Tantra.
She possesses supernatural powers and wisdom and has taught great Indian and Tibetian yogis. In Buddhism female energy holds a very high position and there is
no greater love than that which is represented by mothers, who give swiftly and unconditionally whatever we need.
It is highly beneficial for those initiated and not initiated to make a connection with this extremely potent Vajrayogini Buddha whose blessings become more and more powerful as times degenerate.
"The Universal Soul is eternal. So what we perceive or feel is this combination of the Eternally Formed and the Eternally Formless."
From The Life of Swami Vivekananda
Six pointed stars have also been found in cosmological diagrams in Hinduism, Buddhism, and Jainism
The Star of David in the oldest surviving complete copy of the Masoretic text, the Leningrad Codex, dated 1008
Ancient Jewish texts reveal that the word is also the Hebrew for chariot, and the bible reveals that the word Merkaba itself is found in the Old Testament a total of 44 times.
“Only man is able to manifest his higher Self that is, God through his thoughts, words and deeds, when he identifies his consciousness not with his body, but with its spiritual content, with his Self. As long as a person identifies himself only with his body he is like an opaque cube, in that he reveals only the characteristics of matter, crowding the Divine creative principle into a latent, unmanifested state.”
Most of the ancient civilizations believed that there are specific moments in the history of mankind when great jumps in human understanding take place. It may be that we have arrived at another one of these grand moments of human history where brilliant light expands around the world and another huge leap occurs in human consciousness.
The remembrance of this ancient symbol deeply imprinted in our human subconscious is unfolding all over the world. This unfoldment is all part of the evolving cosmic DNA. It is being remembered now because This Is The Time To Remember. The “computer” that guides this remembrance is the human heart and mind.
T H E F O R T Y - T W O P E A C E F U L B U D D H A S
The Five Buddha Families
The essential nature of a bodhisattva or a buddha is that he or she embraces the enlightened qualities of the five buddha families, which pervade every living being without exception, including ourselves. To achieve the realization of these five buddha families or the five dhyana buddhas, it is necessary to abandon the five disturbing emotions of great attachment, anger or aggression, ignorance or bewilderment, pride and envy. When these disturbing emotions are purified and removed, the five wisdoms shine forth. Realization of the five wisdoms is realization of the Five Dhyana Buddhas - Wisdom Buddhas.
Many of the ancient Tibetan teachings speak about the state between death and rebirth, this teaching is called Bardo Thödol and is popularly known as Tibetan Book of the Dead. This 8th century text is to be read aloud to the dying person, and it is meant to guide her or him through the inner visions occurring during this phase of transition; a process that lasts twelve of the forty-nine days spent in Bardo. Bardo is the intermediate state or dimension between two lives where one's consciousness continues in subtle form in metaphysical dimensions.
In these illuminated visions of spiritual reality, one encounters both gentle-or peaceful and fierce-or wrathful aspects of divinity
Forty-two Peaceful Deities
- and thus of oneself. According to the text, the number of deities person encounters in the Bardo state is thus one hundred, Forty-two of Peaceful Deities, and Fifty-eight of Wrathful Deities.