Posts Tagged ‘culture’
Arthur’s Stone – Initiation and Concepts of Arthur
Near to the village of Dorstone in the Golden Valley of Herefordshire is a wonderfully preserved ancient monument called “Arthur’s Stone“. The monument is on the borderlands of England and Wales, and as the map below shows there is a congregation of settlements and an alignment of sites along the ridges between the rivers Wye and Dore (“of gold”). Before I go on to explain my findings at Arthur’s Stone I want to discuss a little bit about my current concepts of what Arthur is, or who he was.
My current concept of Arthur
This Arthur fellow – he got about a bit, eh? These days I prefer the interpretation I read recently that “Arthur” is a title adopted or given to many kings, several of whom may have contributed to the myth and legend, the story and history surrounding the King Arthur that we have been remnanted. I like Paul Broadhurst’s idea that the Arthur figure was associated with the fixed constellation of the Great Bear, the guardian of the Pole Star. In my own additional interpretation, Arthur is aligned with and gets energy from the Great Bear’s stars. In particular I think this is the asterism of The Plough, or The Big Dipper as it is also known.
My wife, M, entered the site straight away and went to sit on a small man-sized mound next to the monument. There she settled in for what she expected would be a long dowse. I wasn’t about to go against expectations. I got my dowsing rods out and began to explore, but first I had to find an entrance suitable for me and my energy at that time. I entered the site after asking silently for permission from the spirit of the site. I would be allowed in today – no pushing away or dive-bombing birds, or claps of thunder or anything like that.
As I entered the gate in the fence surrounding the monument I saw two other couples reading the information board provided by English Heritage. I turned my attention away from them, not wanting to overhear anything they might say about the site. I would stay out of earshot until they got bored and wandered away, as most people do at these places after ten minutes. I began by asking to be shown a ritual path that I could follow that would lead me to a power centre that was most suitable for me. I was taken from where I stood in a path that snaked in front of the “false entrance” stone, and then wound its way into the monument from the right-hand side of the covering front stone (seen slanting in the picture below). My path ended in the shadows at the back of the chamber on the left-hand side. I repeated the exercise from three other locations chosen at random and soon I was walking the same snaking path to the front of the dolmen, and then into the right-hand side of the chamber and to the back left corner again and again. By the fourth time I was realising this was a pretty certain dowsing result.
La Tene: a visual manifestation of energy in art?
I have had only a passing interest in the La Tene culture, having seen it mentioned infrequently in historical texts related to the druid culture and early Celtic tribes. However, when I did a Google Image search and found some pictures showing the shapes of the La Tene art I was also struck by the similarity. I have no doubt that Celtic and pre-Celtic civilisations had several influences that were more ‘energy-oriented’ than ours:-
- They probably still had an oral history of the megalithic cultures who built the ancient stone monuments
- They were closer to the land, the cycles of the seasons and Nature generally and this would have influenced their art, if only in an inspirational sense
- There was undoubtedly more rock art in existence at the time to copy
- Shamanic practises were still being used at that time, and so ‘getting in touch’ with Nature and her energies was a more regular practise than it is nowadays. Purely from a psychedelic standpoint this would bring forth such patterns through the visualisation of energy flows. cf. The Gundestrup Cauldron
It is not the spread or influence of the La Tene culture that interests me. As you can see from the diagram below it is considered that the influence of their culture was quite limited. What interests me is that such a culture, a culture with obvious similarities to other tribal cultures that are more native to this soil, was able to create artwork that seems to be based upon geodetic designs. Now, I introduce the term “geodetic” because I have been reading Guy Underwood. What I mean by the term is that the shapes and designs employed by the La Tene crasftsmen and artists mirror the underlying subtle energy forms that Kal and I have found, as have may others of course, when we have been dowsing around these islands.
In the first set of shapes I see the circle used as a central point, with branches swirling outward from that point. If you look at some of my diagrams from stone circles where I have sketched the shapes that emanate from the stones themselves you will recognise the similarity immediately. Good examples I can think of are Nine Ladies, Moel-Ty-Uchaf or Gors Fawr.
In this second set of diagrams of La Tene art I see another familiar shape – that of the double-headed spiral form that represents the travel of the sun across the sky in a year. This is actually found in subtle energy form as a sigil at several sites that I have dowsed recently, including Dinas Bran near Llangollen and at Birkrigg Moor stone circle in Cumbria. I am sure there are many more. The shape is defined as akin to that of a treble clef symbol, with one end more tightly wound that the other. The tightly wound end runs anti-clockwise and represents the female end (I’m sure there are parallels in life there, with the female being more tightly wound!) and the male end being fewer turns and clockwise.
It appears to me, and to Riverwolf – the kind reader who spotted this connection – that there is some inherent familiarity with these forms that is seeking expression in these symbols and the art that is produced using them. We are fortunate enough to still have them represented in our own time to be able to refer back to them, and to make such a connection. Whether or not that connection makes any difference to us on a practical level is not the significance. The significance comes from the acknowledgement – tacit or otherwise – that previous “tuned in” cultures were closer to the Megalith Builders that we are, and knew Nature’s flows more intimately than we allow ourselves to now. We hope this may soon be knowledge whose practicality is soon re-discovered.
In this sphere of recovering ancient knowledge the recognition of interesting coincidences can often put us back in touch with a clue to that way our ancestors thought, and how they viewed the world. Perhaps this expression of energy forms in art may be one of those clues?
Gwas.
Culture is not your friend
It has been a while since I listened to the wisdom of Uncle Terry. Here’s a snippet of the great man rabble-rousing to the psychedelic troops by proposing we fight demonic robots with art. I can never get enough of this man. He helps you to break down your cultural conditioning and open up to the possibilities of other worlds.
httpv://www.youtube.com/watch?v=iYB0VW5x8fI
Gwas.




