Ancient Mysteries Mythology Through Ancient Eyes

Through Ancient Eyes

Through Ancient Eyes
Catalog # SKU0403
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Weight 1.80 lbs
Author Name Neil Hague
 
$25.00
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Through Ancient Eyes

By Neil Hague



Through Ancient Eyes
By Neil Hague

The reading of the book 'Through Ancient Eyes' has been a fascinating and altogether enlightening experience. Being someone who has always appreciated art in its many forms, but never fully understood the significance or importance of art, this book has opened my eyes to the meaning of art and how it is an essential tool for ones journey in life.

'TAE' has asked the reader to look beyond the mechanisms of art production and to look at the concept of art as being a self-discovery and self-healing process connecting soul with nature.

Whether staring in awe at a 'da Vinci' painting in the 'Uffizzi' gallery, Florence or simply admiring your 6 year old daughters painting on the kitchen cupboard, TAE has encouraged me to look at both art forms from a different perspective where both paintings can be seen to give equal levels of fulfillment.

Finally I would say the most important aspect I have taken from this book is that it has made me stop, within the 'rat-race' that is today's civilisation, and think about what is important in life; which is love, laughter, nature and soul.
-- NORRIE MCCULLOCH


Through Ancient Eyes explores how art is a metaphysical activity, while illustrating the art and soul connections that have existed since ancient times. Drawing on a wealth of information, which includes prehistoric art and prophecy, through to the work of William Blake - this fascinating book unlocks ancient wisdom that has inspired artists from all ages.

Expanding our view of the creative process, we are taken on a journey that weaves together a cornucopia of myths, archetypes and symbols, which through art, can reveal hidden dimensions of the soul. At the same time the book reveals how the esoteric practices of secret societies (which have commissioned most of the great works of art and architecture) and the art of historical artists are connected. What they have in common, artist and priest, is the understanding of a hidden knowledge, which throughout the ages has been used to liberate or control the human psyche.

Using over 80 illustrations, Neil Hague shares his own visions, which challenge the conventional view of art, history, science and the symbols behind religion. He offers an alternative perspective, one that sees humanity's role as that of multidimensional beings breaking free of the shadows and self imposed limitations that prevent them from awakening the creator within. He says:

"Ancient peoples used their creativity to communicate with powerful forces that are, once again, raising the vibrations of our planet. Visionaries and prophets, artists and poets throughout history have all used their 'ancient eyes' to tap into the creative consciousness".


Through his own unique art Neil attempts to demystify the spiritual systems, different dimensions and interdimensional beings that interpenetrate our world - many of which have been recorded in art and texts since ancient times.

Through Ancient Eyes is an essential read for anyone interested in the power of the imagination, and how art and nature can transport us into different levels of awareness.

Neil Hague is a professional illustrator, artist and college lecturer.
His images have appeared on book covers and at exhibitions across the world

CONTENTS
Introduction (A Reflection on Art)

Chapter 1: Archetypes, Aliens and Symbols
Storytelling and the Opposing Forces of Creation
The Web of Life
Father Sky, Mother Earth
Inner Earth and Creation Chambers
Gods and Goddesses of the Stars
Sun Beings and the Bearers of Culture
Art, Ancient Landscapes and theDreamtime
Atlantis and the Cult of the Two Horned Clan
Ghosts and Interdimensional Beings
Wingmakers
Ancient Star Gods and the Creators of Civilisation
Venus - the Sun that Moves
The Royal Race
Shamans, Star Beings and Shape-shifters
Gods and Serpent Kings
Hero Worship and the Post-Flood World
Battles Between the Sun and the Serpent
Watchers, Wizards and Stealing Fire
Eyes and Trees
Symbols are the Sacred Language of the Universe
The Circle
The Spiral
The Labyrinth
Pyramids
Symbols Through Art

Chapter 2: Shadow Walking
Mind Forged Manacles
Destructive Dogmas
Another Brick in the Wall
What They Don't Tell You at School
Soul Loss - Why We Need to Experience Our Creativity
Shadow Realities and Illusions
Plato's Cave
Welcome to My Reality - A Personal Way of Seeing
Urizen and the Fear of Change
The Predator Consciousness- Lucifer
Mind Control
Seeing Pyramid Power - The Shadow Government
The Hallmark of the Gods - the Art of the Elite.
Heraldry is Hereditary
Freemasons and the All Seeing Eye
Scarlet Councils
Sirius and the Lawmakers
The Black Madonna and the Immaculate Deception
The Pagan Trinity (The Mother/Sun Cult)
Sun Mounts nd Apparitions from the "Otherworld"
Running with the Wolves
Sun Symbolism and Religion
The Ancient Sun Cross
Christ, Crowns and Halos
Seeing Codes
The Black Sun
Leaving the Gods Behind - Taking Power Back
Europe - A Prophecy Come True (After Blake)
Using the Circle

Chapter 3: Unlocking the Imagination
A Visionary Way of Seeing
Art - A Search for the Fourth Dimension
Transformation as a Form Of Imagery
Art as a Psychic Tool
Art as Medicine
Spirit of the Artist
Seeing Is Believing?

Chapter 4: Movement of the Soul
Windows of the Soul
Relationships with Energies
Meditation
Meditating through Drawing and Painting
Painting to Music

Chapter 5: The Circle Within
The Four Corners of the Soul
The Elements, Cosmology and Creation
Travelling the Path - Finding Our natural Rhythm
Attuning To Earth, Sun and Moon
Celebrating the Dark and the Light
Fire Ceremonies and Attunment to Galactic Time
The Net & Linear Time
Time Travel and the Fourth Dimension
Art, Nature and the Machine Age
Taking Time for Timelessness

Chapter 6: The Magic of Life
No Such Thing as a Coincidence
The Field of Plenty -Using The Matrix
Visualising Exercise -The Wish List
Spiralling Suns Within
Colour and Sound
The Fool
The Magic Mirror - Go On, Laugh at Yourself
A Pebble in the Pond - Creating Our Reality

Chapter 7: The Spider Inside
The Wider Web
Personal Webs - Connecting with Spirit
The Language of Nature - Seeing the Unseen
Dreaming
Having Visions
The Coming of the Light - The Fifth Element

Chapter 8: Journey Maker
The Galactic Wheel -Is the Past Coming Back?
The Hopi Blue Star Prophecies
The Re-Balancing Beam
Earth Changes - A New Perspective
The Fifth Dimension & Heavy Light
Using The Moon
Using The Sun (Our Cosmic Fire)
Calling To Ceremony -Invisible Councillors
The Three Pointed Path - Reversing the Pyramid of Control
The Matrix or Vortex
Seeing the Matrix
Freeing the Predator Within
Science and the House of Many Dimensions
Ancient Stories of the House of Many Dimensions
Inspiration and the Principles of Creativity
Ten Dimensions of the Soul
Becoming Multidimensional
Being Wary of Ritual
Clearing Emotional Pollution
Vision of a Wanderer
Journey to the Heart


Excerpts:

Chapter One

Art, Ancient Landscapes and the Dreamtime

Many indigenous cultures, especially the Native American and Celtic tribes, used the symbolism of the web as a means to convey the love and power of what they termed The Creator. The most famous story being the legend of Grandmother Spider. She was considered a part of or even a personification of the Creator to some tribes. Spider Woman in her various forms was said to have come out of the oneness to weave the web of the universe.7 According to various Amerindian mythology she was a special creature that the 'Great Mystery' had chosen to weave the original webs of both the invisible and tangible worlds. Spider Woman was said to have made the skeletons or blue prints of the connecting circles that held together the flesh and realities of all life forms in creation. Symbolic versions of this deity appear in films like the Matrix, which is also another name for the webs that are woven to create this reality. Grandmother Spider or Thinking Woman was a symbol for the infinite possibilities of creation and she was regarded as both the dreamer and the dream. It is said by the Hopi that Spider Woman was the creation of Sotuknang in the First World of Tokpela.8 In this ancient world Spider Woman created twins who took up their positions at each of the Earth's magnetic poles. One twin travelled the Earth forming solid matter and shaping the topography, while the other filled the Earth with sounds. This story of the twin-beings is a stunning allegory for ancient understanding of the Earth being a sphere and how electromagnetic forces shape the world through sound. A knowledge that was not available to European scientists prior to the middle of the 19th Century.

In Peru are also the mysterious Nazca Lines which cover over thirty miles of desert and can be dated to around the second century bc. At Nazca the ancients scored away the top surface of the land to reveal a lighter subsurface creating many drawings including a goddess like figure of a giant spider, a spider monkey and a humming bird. Alongside these images are hundreds of other animals, birds, runways, zig zags and spiral formations. On surrounding hillsides many other strange humanoid beings can be seen which are symbolic depictions of giants, creator gods and, according to some researchers, there could be actual earth diagrams of specific star constellations. Some of these images certainly look similar to constellations like Orion, Gemini and Cancer. One particular figure at Nazca, known to the locals as the Owl Man or el Astronauta, stands 29 meters high on the southern end of Pampa de San Jose (see figure 7). Its arms are interesting as one points to the star Arcturus and the other points to the Earth. The ancient artists that placed it there are telling us something about the connection between the Heavens and Earth. In many ways these mysterious works of art reflect an advanced understanding of mathematics, astronomy and symbolism left by a civilisation of artists for future generations to comprehend.9

All of these works are so large they can only be seen in their entirety from 1,000 feet in the air! Why would native people create such imagery that can only be viewed from these heights? Erich Von Daniken puts forward many theories in his books which relate to ancient space ship landing bases, some of which could be true. Especially when we consider Egyptian pyramid texts which also replicate images of flight and aviation.10 Whatever the case, the image makers behind projects such as the Nazca Lines, seemed to have a higher dimensional perspective like their gods, which could have included humanity's ability to fly in some distant Golden Era. The knowledge which allowed wonders like the Nazca Lines, the Baalbek Trilithon, the Great Pyramid at Giza, Easter Island and other amazing creations to be built with such precision and scale, I feel, can only correlate to the efforts of an advanced race who exercised an advanced science in ancient times.

In the ancient timeless time of tjukuba or the Dreamtime of the Australian Aborigine, giant totemic beings were said to have emerged from within the earth and out of the skies, to shape the land we see today. In Aboriginal mythology the Dreamtime was considered to be the long ago creative era, a timeless zone of mythic multidimensions. Everything within it, mountains, hills, trees, water holes and caves were more than topography, but real and living spiritual landscapes. Similar stories are told in the Americas especially in the landscape of Arizona located on Canyon de Chelly, where Spider Rock juts 800 feet above the desert floor, representing over 230 million years of Earth history.

According to the Navajo creation myth their most important deity, (along with the Creator) was Spider Woman, the Goddess who brings the light. It is said that she came to rest at the top of what is called Spider Rock and this monument stands in an area known as the Four Corners in the United States, a place which the Hopi Indians consider both ancient and powerful. In the Navajo lands of Keres country in New Mexico also stands Monument Valley which is also said to be a remnant of this ancient period on Earth. Many of these natural giant red rock formations, according to Indian elders, also speak of the Dreamtime, Creator Gods, giants and ancient legends. So does the red giant 'Uluru', or Ayres Rock in Australia and Ymir the Frost giant of Norse mythology. Images on the ancient Akkadian cylinder seals of Mesopotamia, 2250 BC, also show giant sun and water deities emerging from within the Earth and walking across mountains, creating the topography of the Earth.

Many researchers, including native oral traditions, suggest that the areas of land around the Four Corners, both on the surface and the masses of underground catacombs, are remnants of those ancient worlds or the Motherlands, which became Lumeria and later, Atlantis. It is said by Hopi and Navajo elders that the Motherland was a time when immortals and multidimensional god beings like the Yei, walked the Earth with the ancient ones at the time of the Third Sun. The Four Corners (where Utah, Colorado, Arizona and New Mexico meet) in the United States of America, is also known by many native peoples and UFO researchers, as a place where alien races, like the infamous Greys and other strange beings have interacted with humans to this very day. The famous Roswell cover up around Area 51 and many UFO abductee stories that have surfaced in recent years have all been situated there.

Chapter 2 (sample pages)

The Hallmark of the Gods - the Art of the Elite.

Art and esoteric knowledge have been used since ancient times to create fantastic structures that speak of the heavens on Earth. The pyramids in Egypt and South America are fine examples of art and advanced science combined to harness both masculine and feminine energies, which become power structures. The esoterical aspect of this male dominant force is symbolised widely through the Egyptian obelisk. The obelisk is a symbol for the erect penis of the star god Osiris (Egypt) or Ouranos (Greek). Legend says it was cut off by his brother a titan named Seth or Cronos (Saturn). Titans, according to Greek mythology, were the children of the Sky gods and the Earth goddess Gaia. Like the Frost giants of Norse mythology and the Rock and Storm giants of numerous myths, they were said to have been thrown into Tartarus by Horus/Zeus after an immense battle between the gods.

A constant battle theme has also been told in many oral traditions and religious texts, such as the Book of Revelation, which tell of the old serpent (the titans) or he that is called the devil, being cast down to earth and shut into the abyss.20 The watchmen for the gods, in Norse mythology, were called Heimdall or Rig, who were said to have fathered the system of hierarchy and created three points or categories of men. These were the slave (Thrall), the freeman (Karl) and the priestly class (Jarl). The symbol of Heimdall can also be found on the Hierophant card in the Tarot, which is meant to signify authority over others. Jarl was said to be his special son, the first of the patriarchs and the priestly class who would communicate between the peasant and the 'gods'. The lineage of Jarl is said to be that of the priest king or Pharaoh who were given the 'divine right to rule'. It is this ancient lineage of magicians, priests and kings who have used the occult with war since ancient times, as a vehicle for controlling the sons of Thrall and Karl. In symbolic terms the pyramid is an ancient structure that allows the servitude of the masses to continue into the present day.

Heraldry is Hereditary

The heraldic art of 12th Century Europe has all the hallmarks of ancient kings, princes and rulers boasting of their divine connections with the gods. The symbolism in heraldry is no different from the symbolism used in ancient civilisations like Sumeria and Egypt. As always it was the ideas and messages hidden within heraldry that spoke of their true family heritage.

In native America we have beings, animals, birds and gods as decoration on shields. And in Ancient Greece shields and armour bore a wide variety of tribal figures. Aeschylus in 500 BC is said to have recorded that lions, boars, fish and other objects were on the shields of the warriors who attacked Thebes. Rome and its legions also had its insignia, so did the early Teutonic peoples who attacked Rome. In much later periods the Normans and Saxons also decorated their shields and banners with beasts, crosses and other icons of heritage. The students of heraldry are told that the more ancient insignia differed from that of 12th Century heraldry, in as much that the ancient insignia were created to establish identity of an individual or of a bloodline. It is probably true that the system of heraldry was developed to help regiment armies and decorate their military organisations. Yet, it too was an obvious hallmark used by the various bloodlines and their god-kings and can be traced back to ancient times. As JP Brooke-Little writes in Boutell's Heraldry,

" It is true that some of the emblems found in ancient symbolism have survived to take their place as devices in heraldry. For example, the British tribal emblem of a dragon became a supporter of the Royal Arms in Tudor times and is still the badge of Wales".

I suppose that particular one gives the game away, especially when you notice the same dragons and flying serpents on ancient temples, gothic cathedrals, stately homes and even in the financial centre of London. Many other emblems, like that of the fleur-de-lis and the lion, are also ancient insignia for the royal bloodlines that have ruled since the time of Sumer, through Rome and into the modern world. That is why these insignias have survived on royal crests and coats of arms to this day. Other heraldic charges like that of eagles, cocks, serpents, monsters, panthers, unicorns, mermaids, bees, escallop shells and star symbols can also be found in the ancient world to represent the gods and their bloodlines. Other insignias relate to knowledge of star systems, magic and many invisible beings that influence our reality. The lion, panther and dragon are all representations of the reptilian gods, or what the Aztecs called the lords of Xiballba (Underworld). While crosses, suns and stars are symbols of the sacred fire (knowledge) and the sun gods revered by the ancients. All of these icons would also find their way on to the insignia of the many knights' organisations that emerged at the same time as heraldry.

Organisations like the Knights Templar and Teutonic orders also carried ancient symbolism that spoke of their god kings, ancient mystery schools and the knowledge they had inherited from the magicians (priests) of Egypt and Sumeria. Adolf Hitler was even depicted as a Grail Knight on propaganda posters in 1936, which in my view, reveals the true nature of these ancient orders and what lengths they have gone to, to create their 'New World Order'. One of their most prominent symbols that can be traced back to ancient Egypt, is the all-seeing-eye. This motif would become the insignia of the biggest secret society of today, the decedents of the knights of heraldry, in other words the Freemasons.

End Excerpts


6x9, softback, 286 pages

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