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The Union of the Sun and Moon, Song of the Vajra, tantra shows which experience a person undergoes in the intermediate state, the bardo, after passing away, to stabilize awareness during the bardo of dying, Mexican Tile, Guadalajara, Mexico

June 25, 2014 on 10:35 am | In Dream Symbols | No Comments

Unborn, yet continuing without interruption,
neither coming nor going, omnipresent,
Supreme Dharma,
unchangeable space, without definition,
spontaneously self-liberating–
perfectly unobstructed state–
manifest from the very beginning,
self-created, without location,
with nothing negative to reject,
and nothing positive to accept,
infinite expanse, penetrating everywhere,
immense, and without limits, without ties,
with nothing even to dissolve
or to be liberated from,
manifest beyond space and time,
existing from the beginning,
immense ying inner space,
radiant through clarity
like the Sun and the Moon,
self-perfected,
indestructible like a Vajra,
stable as a mountain,
pure as a lotus,
strong as a lion,
incomparable pleasure beyond all limits,
illumination, equanimity,
peak of the Dharma,
light of the Universe,
perfect from the beginning.

en.wikipedia.org/wiki/Union_of_the_Sun_and_Moon

Text Analysis of the Union of Sun and Moon Tantra (nyid zla kha sbyor rgyud) from the Tibetan Renaissance Seminar

Background

The Tantra of the Great Secret Union of the Sun and Moon (Nyi ma dang zla kha sbyor) is one of the Seventeen Tantras (rgyud bcu bdun) within the Nyingma (rnying ma) school’s Seminal Heart (snying thig) tradition. According to Nyingma sources, this tantra was first taught in India by Garab Dorje (dga’ rab rdo rje), who lived three hundred and sixty years after the historical Buddha, to Manjusrimitra. Eventually, it was transmitted to Tibet. The Emporer Trisong Detsen hid the scripture in the eighth century, and it was revealed as Terma (gter ma), or treasure text, by Dangma Lhüngyel (Davidson, 230). According to Ronald Davidson, the written version of the seventeen tantras was most probably a product of the Chè (lce) clan in the eleventh and twelfth centuries (228).

The contents of this text deal with the teaching of the bardos (bar do), or intermediate states, that all beings are subject to. Although the number of intermediate states ranges from four to six depending on the source, the Tantra of the Great Secret Union of the Sun and Moon names five: the bardo of nature, the bardo of the state of samadhi, the bardo of dream, the bardo of birth and death, and the bardo of existence. This discussion on the bardos predates the more popularly known treatment of the bardos in the fourteenth century treasure text, Self Liberation Through Hearing (Bar do thos grol) .

Character

This tantra is in sangiti form, in which the buddha Dorje Chang (rdo rje chang, Skt. Vajradhara) teaches esoteric Buddhist doctrine to a bodhisattva (Orofino, 20). The bodhisattva in this tantra is Mitog Thuba (mi rtog thub pa) who asks Dorje Chang a series of questions concerning how sentient beings can attain liberation in the various intermediate states. Most of the text is in verse.

Summary

The first section of this text, discussing the Bardo of Present Life (rang bzhin bar do) is not available in English translation. It contains detailed explanations of a yoga system that allows practitioners to control and channel their physical and mental energies towards the goal of spiritual enlightenment (Orofino, 20).

The second section of the text is devoted to the Bardo of Death (’chi khai’i bar do). Mitog Thuba asks Dorje Chang to explain the signs of death, and methods of preventing death if one sees these signs. Dorje Chang discusses various signs of death. For example, if one’s nose flattens out, he will die in five days, or, if black spots appear on one’s tongue, he will die after two days (Orofino 22-23). He goes on to explain magical rituals that one can perform to reverse the course of death. Then, the buddha in the dialogue suddenly switches from Dorje Chang to Vajrasattva. Mitog Thuba asks Vajrasattva, how one is to recognize the pure state of wisdom at the moment of death.

Vajrasattva’s reply begins with a description of the physical process of death: at death, the various elements of one’s body dissolve into each other – earth into earth, water into water, fire into fire, and air into air. Each of these dissolutions is accompanied by a physical sign like the cooling of the body or the stiffening of the limbs.

The moment of death, though, also represents an opportunity to unify one’s mind with the wisdom of the Buddha, thus achieving enlightenment. This involves taking the "position of the sleeping lion," entering into a state of profound meditation, and then directing the mind to the eyes. In a moment of pure focus, where pure awareness is concentrated into a single point, the person achieves enlightenment and does not have to wander in the bardo. This, however, is a very difficult task to perform.

Vajrasattva outlines particular ways that a master or dharma brother can help a dying practitioner perform this task.

The third section of this text deals with the Bardo of Essential Reality (chos nyid bar do). Vajrasattva explains that during the Bardo of Essential Reality, one sees visions of the mandala of the five rays of light. One sees "subtle, mobile, trembling, quivering, scintillating" masses of multi-coloured light which shine "disctinctly and marvelously". One experiences the light from one’s heart engaging with these visions. Finally, one experiences the eight ways in which the light arises. This represents an opportunity for liberation – if one understands that these visions are manifestations of one’s own mind, one attains enlightenment. If not, one will be frightened, and will enter into the next bardo, the Bardo of Existence.

The final section discusses the Bardo of Existence (srid pa’i bardo) where the individual begins the process of being reborn into a new body. In this intermediate state, the individual sees visions of the six types of beings: gods, demi-gods, animals, hungry spirits, hell-beings, and humans. One also sees visions of temples, houses, hoards of people, desert land, caves, ruins, and precipices. The latter three visions represent future rebirth in a womb. Vajrasattva then describes the development of the fetus after the individual has entered into the womb, and finishes by reminding Mitog Thuba that transmigration is an unending cycle that one can only escape through wisdom.

Analysis and Interpretation

Life and Death

One of the most remarkable things about this text is its treatment of the themes of life and death. In our culture, death is seen as a profoundly negative thing. Suffice to say, death is not a preferred topic of discussion either in the public or the private sphere. Death represents failure–the failure of the surgeon to fix a child’s heart, the failure of an individual to "hold on" to life, or the failure of a cancer patient to "beat" the illness. In contrast, life is what people desperately hold onto, and, in their quest for eternal life, people willingly spending large sums of money on face lifts, anti-aging creams, and antioxidants. In our culture, we tend to focus on life and to be in a perpetual state of denial about death.

In the Tantra of the Great Secret Union of the Sun and Moon, on the other hand, life is not particularly glorified and death is not particularly belittled. This text speaks of life and death in a candid and matter-of-fact sort of way. In keeping with basic Buddhist doctrine, the tantra describes life as impermanent, and invokes a series of similes: life is like a "dream," "rushing water," "wind," "magical enchantment," "illusion," and itinerant "pilgrim," and a "rain cloud" that will pass over soon (Orofino, 31). These similes convey a sense of the ungraspable nature of life; no matter how hard we try, we can never make things stand still. The naturalistic similes of rushing water, wind, and rain clouds convey a sense of naturalness to the course of life, while the similes of dream and magical enchantment convey a sense of the fleeting nature of both the things that we encounter in life and life itself. The simile of the itinerant pilgrim conveys how life, as much as we oftentimes celebrate it, is a long and tiring journey. Despite this, life is generally seen as an important moment for learning the Buddhist dharma because it represents an opportunity where one can attain spiritual enlightenment. Buddhist tantric practitioners are also instructed to practice diligently during their lifetimes in order to take advantage of this opportunity. Thus, although life is definitely not something entirely negative, it is certainly not seen as something that is particularly extraordinary.

In the same way that life is not seen as something extraordinary, death is also seen as a perfectly ordinary event the inevitably occurs over the course of time. There is a certain nonchalance in the tone of the tantra’s discussion of death: Death is not a failure but is simply when "one’s life is exhausted" and when the "elements of one’s body is consumed" (Orofino 36, 32). Death is a perfectly inevitable natural occurrence. The one occasion where death seems to be something that one should fear is when Vajrasattva describes death as something "sudden," "not forseen," and "unstoppable" (Orofino 32). The implication is that death can hit us at any time, and that we should be prepared. Nevertheless, death also represents a rare opportunity for spiritual enlightenment. According to Tantric Buddhist teachings on the intermediate states, if we are able to recognize the clear light at death, or the light found in the subsequent intermediate states as the projection of one’s mind, one attains instantaneous enlightenment.

In fact, life and death are portrayed in the Tantra of the Great Secret Union of the Sun and Moon as rather similar phenomena. Both are natural occurrences over the course of time, neither is privileged over the other, both represent an opportunity to attain enlightenment, and neither are inherently sacred or special. Both life and death go hand in hand: life is an opportunity to prepare oneself for death, and death is an opportunity to attain buddhahood in an efficient way. Life and death are not polarized to the extent that they are in our culture.

Existence, Material Existence

An important polarization in the Tantra of the Great Secret Union of the Sun and Moon is the privileging of disembodied enlightened existence over material unenlightened existence. Though this type of polarization may seem unsurprising in a tradition where spiritual enlightenment and freedom are the ultimate goal, it is particularly interesting that this polarization is also reflected on a textual level: the imagery and metaphors of this text reflect this greater argument.

In the Bardo of Essential Reality, the individual receives a taste of what enlightenment could be like. In this bardo, one no longer has a physical body of flesh and blood, but a "body of light" that "is free of impurities, and all visions manifest themselves in the dimension of happiness" (Orofino, 45). The link to the physical senses is severed, and one only comes into contact with "mental knowledge (Orofino, 45). The visions that one sees are stunning: one sees five-coloured light that appears "beyond material limits," without inside or outside, and "subtle, mobile, trembling, vibrant, quivering, scintillating" (Orofino, 46). Furthermore, the individual is not a passive observer; she participates in the process when light from her heart joins with the light of the manifestations around her. This is described as "the union of the state of pure Awareness with the light" (Orofino, 47). The images of light, movement, and the intangible suggest a certain spontaneity, freedom, and joy to enlightened reality.

In contrast to this, the imagery in the Bardo of Existence is dominated by images that suggest a grimy, trapped, and painful existence. As the individual moves from the previous bardo to the Bardo of Existence, she loses the spiritual freedom and contentment of the former bardo. Instead, she feels "provoked" by past desires, and feels pressured into becoming "involved" (52). The visions that she sees suggest the gloomy din of industrial towns and cities: she sees "temples, houses, fire, fog, rain and the sounds of groups of people" (53). "Damned" to a rebirth, she sees "desert, caves, ruins, precipices," all of which represent the womb (54). Thus, the womb is not seen as a fertile symbol of life, but a symbol of entrapment in the ceaseless cycle of rebirth. In a series of evocative similes, the tantra conveys the predicament that the individual finds herself in:

One feels the desire to move but feels held back by a net because one is blocked, like straw that has taken fire, or like being stuck in the mud./ One is like a bird in a trap that has been dug in the earth: in the trap of desire without control, that is transmigration. (53)

Images like the net and the bird in a trap suggest the imprisonment of the individual in the cycle of transmigration, while images like the "mud" and "earth" suggest the griminess of the samsaric condition. Finally, the simile of the "straw that has taken fire" suggests the visceral immediacy of the pain found in cyclic existence.

Therefore, the Tantra of the Great Secret Union of the Sun and Moon reflects the privileging of disembodied enlightened existence over material unenlightened existence even on the level of metaphor and imagery. The metaphor and imagery have the effect of acutely conveying a larger argument that privileges the freedom of enlightenment over the suffering of cyclic existence.

Works Cited

Orofino, Giacomella. Sacred Teachings on Death and Liberation: Texts from the most ancient traditions of Tibet. Bridport: Prism Press, 1990.

Davidson, Ronald. Tibetan Renaissance: Tantric Buddhism in the Rebirth of Tibetan Culture. New York: Columbia University Press, 2005.
collab.itc.virginia.edu/wiki/renaissanceold/Text%20Analys…

Prophecy – Prophetic Symbols

May 8, 2014 on 11:24 pm | In Dream Symbols | No Comments

Understanding the Pictorial Images of God.

You have experienced dreams, visions and had prophecy spoken over you life. Some of it may have been very clear while other elements were full of mystery. The prophetic language of God can take many forms and be expressed in various images. God is now revealing the meaning of His pictorial language so that His people can understand what He is releasing through the prophetic realm. It would take a complete book to fully cover this subject but in this article I want to lay down a few principles and share some examples that will help you.

Let me recommend first that when you have a dream, a prophetic vision or receive a prophetic word tp always write it down. Otherwise, many details can be completely lost within a short time. If you received a prophetic word from a prophet(tess) then ask them to explain what they saw and the sense of what they felt. If it was a vision or dream, I recommend you make descriptive notes. You then can search your Bible for any of the images or pictorial types to see what that image conveyed in the scriptures. There are many electronic Bibles for free on line that include word searches and study helps so these can be very helpful.

It is important to prayerfully ask the Holy Spirit to bring understanding to you. He authored the dream so He has the details. He does however, work with details that will make sense to you. He often uses experiences, memories and settings that are unique to you alone. Someone else would not understand them in the same light as you. For instance, seeing a hot stove may bring a sense of warmth, family, comfort and peace to someone. For another person seeing a hot stove in a dream may create feelings of fear or pain because they were badly burnt when they fell against a stove as a child. In these scenarios God may be leading the first person into comfort, sense of security or relationship. In the second example, God may be inviting that person into freedom from childhood fears. So ask Him to identify areas that may reveal a deeper work of restoration within you.

Let me focus on images. There are so many images in the Bible that God used, so reference these in a concordance. See if they relate to what you received. Jesus often used parables which are illustrations that contain a spiritual truth. A lamp represents light and guidance, whereas a net would represent harvest. Acquaint yourself with these through word searches and note the application, if any to your encounter.

When interpreting a dream it is important to look at the emotional, spiritual and circumstantial content within that dream. Was it frightening, peaceful, encouraging or threatening? Did details provide direction or promise of provision? Was the dream detailing issues to pray about? Was the dream a training module in which the Lord put you through a test or equipping session? Ask questions – why this and not that? Some unresolved issues in dreams are unimportant. If there were details you didn’t notice (like color or size etc.) they probably were unimportant.

Let’s look at some dream symbolism examples:

Prophetic Symbolism
Dress style in clothing:
open collar = open, nothing hidden, relaxed, informal plans,
white shirt = formal, rigid, leadership, management,
suit = formal, rigid, business
plaid shirt = casual, not rigid, working on a project.
Likewise: Ladies apparel would generally represent the same in formal to less formal.

Numbers:
1 – unity, God
2 – double blessing or anointing, or two confirmations.
3 – trinity – divine perfection
4 – earth number, 4 seasons, or four directions.
5 – grace
6 – number of man, 666 represents man in league with the world, flesh and devil or an Unholy Trinity.
7 – perfection
8 – resurrection, new beg, # of Jesus
9 – divine # (3 squared), # of Holy Spirit, also judgement, evangelism
10 – world # (10 horns of beast,10 toes on statue)
11 – incomplete, not yet a government, prophetic anointing
12 – governmental perfection/authority
13 – sin #, speaks of rebellion

Animals
Horse – power, physical issues that are going to come as in Revelation with the four horses of judgement.
White horse – the Lord’s message (Revelation when He sat on a white horse)
Also the highest form of power that is established by God.
Elephant – great power and strength, nothing stops them, never forgets.
Predators – animals that prey on others represent usually represent inner fears of that animal. They can often indicate an attack of the enemy in the form of that animal. A lion can represent Jesus as the “Lion of Judah” or could represent Satan as a roaring lion seeking or someone to attack. The context of the dream would clearly show which Lion is in a dream.
Snakes- serpents, spiders, scorpions, dragons, vampires etc. All represent agents of the occult.

Transportation
Vehicles (bikes, boats, aircraft, trains, buses etc.) usually symbolize ministry of some kind, life journey or destiny. The speed is also important because it defines time of getting from departure (as in right now) to the arrival (when God brings the fulfilment).
Subway – underground, unseen, sometimes it may surface for a bit then go down
again, behind the scenes, hidden

Train – a train sometimes represents training (play on words) but most forms of transportation represent ministry.
Air plane – higher spiritual elevation, rising up higher, higher level ministry OR things you are going to do in the Spirit, although rising on an eagle is a more common image for this.
Old car – older form of ministry, could even be old wine skin.
New car – could be faster, slicker (positive or negative,) cutting edge, more efficient and effective.
Truck – used for hauling things to different locations, bringing supplies back & forth.
Ocean liners – large influences over people, ministry with a large influence. The ocean represents people,nations

Other Prophetic Symbols:
Gates of hell – Satan may have access points in your life. Don’t open them.

7 trumpets of
Revelation. – 7 great messages of the Kingdom.

Balls or spheres – Often means completeness, well rounded plans or well thought out.

Walls – can be protection or walls we put up to protect ourselves from perceived
danger (they can close us in or keep out danger.)

Scene Change – Usually means transition in time, place or responsibilities.

Being up in the air – (in the dream or flying) This is the observation position. Could mean You’re not there yet, or just observing. However notice: .

In 2 Kings 5: 25-27 Elisha describes to his servant that he went with him (in the spirit) and saw that he had taken the gifts from Naaman. The Prophet Ezekiel also describes being taken up by the Spirit and being set down in other places, so He could see or make prophetic declarations for the Lord. Ezekiel 37:1, 2 and Ezekiel chapter 40.

Kitchen – Is the place of preparing food, spiritual nourishment being prepared

Cupboard, pantry – storage for things you are about to use.
Other storage places – attic, where you store things not likely to be used again but you want to keep for sentimental value or perhaps they are valuable. Other storage places are not so hard to get to for things you use, but not so often.
Tree – the cross of Jesus, or trees with fruit on them may refer to your attributes.

Prophetic people – When a prophetic person is in a dream with you it’s because you are in a training
time and he/she is a mentor.

Women – often represent churches.

Ocean – sea – people, nations.

Luggage – represents something valuable that you need. If you left it behind there is something back there unfinished that still needs done. If you’ve taken the luggage with you it’s something you’re going to do. Luggage can be very important.

Faceless people – often represent angels who represent someone or some thing. A messenger bringing a word or doing an act. Could also be the Holy Spirit. Or the nameless, faceless – His kids.

Fountains- streams, rivers – Holy Spirit

Clean water- revelatory truth

The Mt. of the Lord – where God rules from. It’s His will being done from this location. The place it radiates from.

Honey- revelation
Forest- confusion
Trees- leadership
Olive tree- anointed ministry
Almond tree – leadership, also Israel
Blooming almond tree – God’s approval (as when Aaron’s rod budded showing God’ approval of his leadership) When the almond tree is blooming in Israel,it is a time of favor that we as His Body can experience.
2nd floor – 2nd heavens

5 fingers – from thumb to little finger represents apostle,prophets, evangelists, pastors, teachers, in that order.

stirring up – it’s starting to happen now, not sitting but still waiting.

things coming and going – things coming in (the house for example) are coming in (birds flying into a house or packages being delivered to a house are things coming in.) things going out are leaving (such as a person, family, a ministry etc.)

As you see there are many symbols that come into dreams, visions or prophetic trances. The above are just a few examples. There are many other Prophetic Symbols that can be unique to a culture, as well. Wisdom and understanding is one of the attributes of the Holy Spirit so you can ask Him for clarity in the Prophetic Symbols that may appear in your dream, vision or trance. If you need consultation then contact me.

Original Author: Keith A. Paul Full Bio
Keith A. Paul has many years of Ministry experience and is an Author. He is used in the gift of prophecy, dream interpretation and words of knowledge which are gifts of the Holy Spirit. He currently lives in Abbotsford B.C. Canada. He travels internationally speaking and imparting the supernatural works of the Holy Spirit. He is available for speaking engagements. To receive Keith’s free Prophetic Words, free Dream Interpretation or purchase His E Books please visit http://www.restorationplaceministries.com

Meanings Of Symbols Of The Tarot

May 1, 2014 on 9:53 pm | In Dream Symbols | No Comments

Sometimes tarot may cause you troubles due to much symbolism in it. This article will help you understand what each symbol means.

 

In Tarot cards everything is symbolic. The colors, the numbers, the patterns everything has its own symbolic interpretation in the Tarot. There are numerous symbols on a Tarot. The scope of this article does not allow a detailed discussion of each symbols of the Tarot. Therefore, this article describes the general symbolic interpretation of the Tarot cards and some of the most common symbols used in Tarot.

 

Before describing the general symbolism it must be remembered that a Tarot card must be observed very carefully to understand the total meaning of the symbolism. The Tarot reader must be able to comprehend the inherent symbolism hidden in the colors and the arrangement of the different components of the illustration. The reading of Tarot is also a matter of experience and as the reader begins to gain more intuition she understands the symbols hidden in the Tarot.

 

The general interpretation of colors is an important aspect of understanding the symbolic interpretation. So here are some basic colors used in the Tarot and their meanings.
Red: Desire, courage, lust, life force, passion
Green: Fertility, energy, victory, fruitfulness, prosperity
Blue: Devotion, inspiration, the sky, freedom, contemplation, spirituality, faith
Orange: Health, vitality, pride, ambition, egoism
Yellow: Illumination, wisdom, glory, generosity
White: innocence, purity, pure joy, freedom from desire
Silver: feminism, psychic
Gold: masculinity, the sun

 

Here are some common symbols and their meanings.
Angel: The Angel is symbolic of divine intervention. The presence of the angel symbol means higher thoughts and visions. The cards in which the angel symbol appears are lovers, wheel, queen of swords, judgment and temperance.

 

The ankh: The Ankh represents the rising sun above the horizon and it is also a symbol of fertility. Ankh is symbolic of immortality and balance.

 

The bird: Like the angel, the bird also represents higher ideals and thoughts. Bird symbolizes freedom of the heart and soul. The Bird appears in the Wheel, Star and the world cards.
Blindfold: The blindfold represents that we are unable to see the real nature of things. Blindfold symbolizes something being hidden from the one. The Blindfold symbol appears in the 2 of swords and the 8 of swords. The appearance of the blindfold symbol means we have to look deeper into the nature of things to understand their meaning.

 

Brick wall: like the blindfold symbol, the brick wall also represents obstruction. Brick wall means something is holding us from the Sun energy. The brick symbol appears in the Sun Tarot.

 

Butterfly: Butterfly symbolizes transformation. Butterfly also symbolizes beauty and gentle lightness. The butterfly appears in the Queen of Swords and the King of Swords.

 

Cat: The presence of cats on a Tarot card symbolizes watchfulness, alertness, perception and psychic ability. The cat appears in the Queen of Wands.

 

Children: Children symbolize new life, promise and hope. The appearance of Children in cards symbolizes new birth and adoptions, the coming of children in the family. Children appear in the Sun, the 6 of cups, the 6 of Swords, the 10 of pentacles and the 10 of cups.

 

Original Author: Paul Ingzioklw Full Bio
I enjoy teaching people about the free psychic reading and talking to people about psychic reading books. It is important for everyone to learn how to get their spirituality in proper order to enhance their lives.

dreams

March 28, 2014 on 1:34 am | In Dream Symbols | 1 Comment

Shakespeasy

March 26, 2014 on 5:31 am | In Dream Symbols | No Comments

Tempietto-Bramante-Rome-Mona-Lisa-Code-07

March 13, 2014 on 4:37 am | In Dream Symbols | No Comments

A dream-like interpretation of Bramante’s Tempietto in Rome is brought out in this artistic photo. Number seven in a series of artistic interpretations of the Tempietto of Bramante in Rome. Sitting atop Rome’s highest hill, the Tempietto was the primary geographic focus for Leonardo da Vinci’s masterwork–the Mona Lisa, also known as La Gioconda or La Joconde.
Scott Lund © 2011 – the Mona Lisa Code (SM)

Dream Theater @ Santiago, Chile

January 29, 2014 on 2:32 pm | In Dream Symbols | No Comments

Dream Theater
Santiago, Chile
Arena Santiago
1 de marzo de 2008
www.HumoNegro.com

Separation is an Illusion

September 9, 2013 on 2:53 pm | In Dream Symbols, History and Beliefs | No Comments

Carl G. Jung mentions in one of his books that we cannot separate father (spirit/male) and mother (matter/female). When we do, we deprive our self of our natural innate instincts.

We cannot separate mind/body from spirit. It is who we are and It is always there. It is our breath of life. It is the intelligence that keeps us alive. But we can create a feeling of separation. We can cover It up. We do this by totally projecting our five senses to the physical world alone without regard to our innate abilities, and believe that that is all there is.

We numb all our senses, that give us nudges, innate feelings and sensations, aha moments, and dream symbols, from our natural instinct of who we are, only focusing our attention to the external world, and truly believing in only our intellectual minds, that what we see is the only thing there is.

When we create this illusion of separation, we feel fear, lethargy, pain and disease. Spirit is hidden deep beneath these feeling but its Voice cannot be heard with all the clutter and noise. And even when spirit does surface, we conditionally ignore it. What happens when we ignore something?

Think of a sliver. It festers and turns into a big sore if we don’t do something about it. We can deny and try to cover spirit up for some time, but the repercussions are great. Spirit is always calling for our attention. It wants to speak to us. It wants to heal, guide and harmonize us naturally.

Energy does not cease to exist when it disappears from consciousness. When we choose to ignore spirit and focus on something else that we think may be more important in this physical world, It reappears in other forms because It must express Itself.

Neurosis, psychosis and physical diseases appear. These are symbolic warning signs of the illusion of separation. As Carl G. Jung states, “When whole countries avoid these warnings, and fill their asylums, becoming uniformly neurotic, we are in great danger.”

So if you find yourself doing the busyness thing to keep yourself unconsciously distracted from your innate nature, slow down and listen, and be with yourself a few times a day. It is a compassionate and comforting companion. You can learn a lot about yourself, and besides you’re always loved, accepted and understood.

Original Author: Desiree Thompson Full Bio

Discover the #1 Rule to Live By! Wake Up To Life is the monthly ezine for women who seek clarity, direction, change, meaning, purpose and passion in their lives. Visit http://www.desireeleigh.com/ezine.htm to begin designing the life of your dreams!

Emily Kame Kngwarreye

August 26, 2013 on 10:58 pm | In Dream Images, Dream Symbols, Dreamers, Dreamscapes | No Comments
Anooralya (Wild Yam Dreaming) by Emily Kame Kn...

Anooralya (Wild Yam Dreaming) by Emily Kame Kngwarreye (Photo credit: arcticpenguin)

On a recent trip to Australia I fell madly in love with the paintings of Emily Kame Kngwarreye (pronounced Ung-warh-ay). I am not alone as Emily has been hailed as an artistic genius, her paintings acclaimed around the world as modern abstract masterpieces, her works compared to that of Jackson Pollock and Mark Rothko and her work “Big Yam Dreaming” hailed as one of the greatest paintings of the 20th century. Heady stuff, yet outside Australia she is hardly a household name.

She was an unlikely candidate to take the modern art world by storm. In fact Emily was an Australian Aboriginal woman who lived her life in a remote community, rather optimistically named “Utopia” in Australia’s central dessert, 240 km north west of Alice Springs, a harsh landscape of  mulga scrub and spinifex plants trying to survive on sandy flats of bright red desert earth with the occasional dry river bed lined with gum trees and paperbarks.

Emily spent her life in virtual isolation thousands of miles from the influences of the contemporary art world. She lived in poverty, had no formal education, spoke her native language Anmatyerre and didn’t even begin painting on canvas until 1989 at the age of 79 when her very first painting “Emu Woman”, wildly divergent in style from previous works by aboriginal artists, brought her to the attention of the art world.

In a rare interview, (translated by a relative) when asked what she painted, Emily replied “Whole lot, that’s all, whole lot. My dreaming, pencil yam, mountain devil lizard, grass seed, dingo, emu, small plant emu food, green bean and yam seed. That’s what I paint, whole damn lot.”

Traditional Aboriginals are a deeply spiritual people and her answer refers to the complex, mythical legends that explain Creation, determine Aboriginal laws and beliefs and assign to each individual their own particular dreaming identity. As Emily paints exclusively about The Dreaming it is impossible to understand her work without understanding The Dreaming.

For Australian aboriginal people, the dreaming is the unseen parallel universe they believe exists alongside the one they are living. This dream world, or spiritual realm is continuous and eternal, both ‘everywhere’ and ‘everywhen’, the past, present and future. It is their life force and as such the Dreaming exerts powerful influences over the real world.

The actual time of creation is called the Dreamtime. Dreamtime legends, passed on through generations by singing, dancing, storytelling and painting tell how the earth, sky, plants animals, rivers and changing seasons were all created long ago by spirit ancestors. The dreaming legends explain natural phenomena, like how colors came to be, the introduction of language and the first use of fire. They provide explanations of why things are the way they are and give meaning to everyday life.

But it is even deeper than that. Because they believe that the spiritual realm is both ‘everywhere’ and ‘everywhen’ physical objects can capture and contain the spiritual ‘essence’ that was present at the time of creation. If Emily paints a yam flower it is not just an image of a yam flower, nor is it ‘a’ yam flower, it is simply ‘yam flower’. When Emily said she painted ‘whole lot’, she meant just that – she painted Creation.

Original Author: Peg Steley Full Bio

Peg Steley
http://tothemax.ca

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