“S’Aha Djed (Transforming Star-lightning awareness in to Sunrise-love)”
February-March 2003 Hobart Tasmania
This painting is
very much in the spirit not only of ancient
indigenous “civilization” – where people lived together in natural harmony in
loosely-organized but organically connected tribal groups, enjoying the support
and cooperation of their fellow beings, without the imposition of nation-state
agendas – but also of future
indigenous civilizations, which we are now creating.
Lemuria, or Mu,
may have been such a place. The story
goes that she was a large island continent in the southern Pacific ocean which
sank into the depths of the sea some 20-odd thousand years ago.
Mainstream
archaeologists and geoscientists tend
to discount her existence; but who can
really know? These minds do acknowledge
evidence of homo sapiens going back hundreds of thousands of years; cultures of advanced indigenous peoples
could easily have existed in areas now unexplorable. Moreover, an indigenous “civilization” would not have left the
Godzilla foot-print that our parasitic world-machine has bequeathed.
Some researchers
say that the ancient Egypt we know was merely the tail-end or remnant of a much
vaster and greater civilization, where the “mother tongue” was spoken, a
language from which the “ancient harmonic languages” (Chinese, Egyptian,
Hebrew, Sanskrit, and Tibetan) may have evolved. The people of this culture would have been highly-evolved
spiritually and psychologically, but not nearly as materialistic as we
are. Maybe they were like the Mayans,
the native Americans, the Tibetans, the indigenous Australians? Perhaps they had extremely advanced forms of
music and uses of sound and vibrational healing, of artistic creativity, of
telepathy, of astronomical knowledge, shamanic exploration, and of the “musics of the spheres.”
Who
knows? But this painting is dedicated
to them, and to all indigenous artists, musicians, and shamanic visionaries of
all times, dimensions, and species.
This painting is
a mandala approximately 1.5 by 2.5 meters, done with acrylic and corrction pen
on custom board.
It contains
symbols from seven different ancient cultures, primarily Egyptian
hieroglyphs. The others are Tibetan,
Sanskrit, Hebrew, Chinese, Anasazi, and Mayan.
The solar
disc in the center represents, of course, the sun. To the ancients, the sun was not worshipped at the chief deity
but was viewed as a symbol thereof.
Emanating from the solar disc are nine bolts of star-lightning. These may also represent the nine original
emanations of Ra.
The main body of
the Egyptian hieroglyphics in the painting, running counter-clockwise from 8:00
to 4:00, means “transforming star-lightning awareness into sunrise-love.”
The sun, or Ahau
to the Mayans (represented by the yellow face also at 8:00) is the guardian
over passages in cycles of time, and is also a chakra within a galactic being,
transducing evolutionary energies directly from the hunab ku (Mayan for
the center of the galaxy).
According to the
Mayan and Egyptian calendars, we are now in the “beak of time”, a “window” or a
“sacred moment in time” which occurs once every 26,000 years; at this time the winter solstice point of
our sun’s position in the sky gradually aligns with the hunab ku, the galactic
center in Sagitarrius. During this
window transformative consciousness streams into us via the sun and assists in
our creation of and ascension to a higher-dimensional reality continuum!
At the top is the
centrel symbol of Egyptian spirituality, the Djed pillar, Osiris’s
backbone and symbol of regeneration and cosmic stability and harmony. Within the upraised Djed is the Chinese
symbol “yung” meaning “eternity.” To
either side of the Djed pillar is the Eye of Horus, or Uadjat,
representing divine guidance and protection.
These uadjats are painted in their androgynous manifestations.
Counterclockwise,
the next grouping of symbols means “inspiration” or literally “light-life
moving within.” The next grouping
translates as “place of origin” “instantly “ or “ here and now.”
Then
beginning at 4:00 we have three glyphs;
the triangle with star and semi-circle is “Ast”, ancient name for
Sirius/Isis. Beside it is “tiet”, a bow
which is another name for Isis. Above
these is “sia”, meaning “intelligence of the heart.”
Finally, the
glyph in the next region is “atchaas”, or “primeval wisdom.”
In Egyptian, the entire band of
hieroglyphics would read
“S’aha djed, uadjat, seshp b’me ankh-akh, ta nun er nuit,
kheprer sba s-tehen thamit er uben mir atchaas, uadjat.”
In English, this
would mean “Djed be raised, divine guidance and inspiration, originating
here and now, transforming star-lightning awareness into sun-rise-love, Isis,
intelligence of the heart, primeval wisdom, giving guidance and protection.”
The two faces represent
Ma’at on the left, the goddess of and archetype of truth, justice and cosmic
harmony; and on the right, Isis,
goddess of life and magic. In their
hands they hold an ostrich feather (“shut”), which is the symbol of truth. In the afterlife of Egyptian mythology, the
soul comes to judgment after a journey through the duat, or netherworld. The heart of each person is weighed on the
scales of Ma’at, or truth, balanced against the weight of her feather. If the balance was unfavourable, the soul
was thrown to Ammat, a cross between a lion, a hippopotamus and a crocodile,
and was devoured, never to return. If
the balance was favourable, the soul entered a real of eternal paradise
according to their nature and Osiris’ guidance.
The four
“dot-eclipse” motifs in the corners represent the four GREAT FORCES of the
universe, the four pillars of creation.
The two colored areas are dual rainbow spectra (the chromatic components
of visible light), symbols of celestial beauty and peace, and the bridge to the
higher kingdoms.
The painting is a
mandala, which is a universal and cosmic centerpoint and symbol of the
“self.” It is the still-point
singularity from which consciousness and creativity emanate.
The patterns
inside the inner circles, just outside the solar disc, are what I call
“mullum-keringke glyphs.” This is a new
style of painting which started coming through when I first came to Australia.
I think of it as “the electrical circuitry of plants” or “the optical
characteristics of DNA,” maybe an “organic higher-light language.” I call them “mullum-keringke” because I was
near Mullumbimby NSW when they first came through, and their first fully
manifested appearance was on a set of rocks which I sent to my aboriginal
art-sisters of the Keringke group near Alice Springs NT.
This
“mullum-keringke” domain could also represent the consciousness of solar energy
as it interfaces with DNA to create “spectraglyphs” expressing the “breath of
Ahau” as it gives life to and revivifies life on Earth.
The next
ring out shows a stepping down of these energies into visible light
frequencies, and their utilization in vision by the animal kingdom and in
photosynthesis by the plant kingdom.
These glyph
continua may also relate to morphogenetic chakra fields (MGCF’s), creating
cross-species/kingdom resonances amplifying the heart-chakra life-force energy
spectrum.
The third ring is
the domain of the biophysical, the Earth, Gaia, and her myriad species of
florae and faunae, geographies, climates and ecosystems.
The solar
disc may also represent the plasma core of the Earth, receiving transmissions
from Ahau, then sending the energies out through the Earth-continuua, through
the different octaves of local space-time, harmonizing and recalibrating each
domain to optimum holonomic `synchronization, purifying the Earth, cleansing
her ecosystems, healing her life-forms and clearing the noosphere of conflict
and karmic residue.
The outer
blue band contains the hieroglyphics – floating in the ocean of space, the
atmostphere of clarity and transcendence – protecting the Earth in a womb of
love, representing new constellations of ascension in a true kingdom of heaven.
S’aha Djed.
JEFF PHILLIPS
May 2004
REFERENCES
Jose Arguelles, Time and the Technosphere; Earth Ascending
James Churchward, The Lost Continent of Mu
Graham Hancock, Mirror in the Sky and The Orion Mystery
Carl Jung, Man and his Symbols
Moira Timms, “Raising the Djed” and Beyond Prophecies and Predictions
Thanks to Moira Timms for hieroglyphic translation assistance
see "The Raising of the Djed: Re-membering the Centre", Moira Timms
