Curiously, life brings me constantly to meet architects, I even married one ...
Singer and architect Keshavram Iengar had witnessed an interesting event in Mysore. Some Westerners were saddened by an old temple in ruins and wanted to establish a fund to finance its repair. The locals found this idea ridiculous, a temple being a support for devotion/contemplation still used by people who knew: if it falls in ruin, one reconstructs it according to the same principles with new materials, and as the whole community participates, it does not need the knowledge or the money imported from elsewhere.
(For example, in the photo above, one can see on the floor the Rangoli that Miss Iengar was redrawing every single day in front of the entrance of her house, a rite passed from mother to daughter).
If strangers really wanted to give money, the community could use it for other, more necessary things. The proselytes refused and went away disappointed ...
Collective hysteria, "union sacrée", "national", indulgences for the merchants of the temple, psychic waves have a long-lasting power: after 2000 years people still argue whether or not, Nero did burn Rome. At the moment in France, it´s booming, while it is clear that the fire of the cathedral of Paris was intentional, therefore criminal.
But this event allows us to re-evaluate our era, in the "light" of what has been lost.
Because everyone has forgotten who were really the builders of the 12th-century cathedrals.
The study of Tradition shows it: the mentality of the Europeans of the "Middle Ages" was traditional and very comparable to that of the Orientals, and it seems that the end of this historical period is the song of the swan of the traditional civilization in Europe, with the destruction of the Order of the Knights Templar (which also built a link between Eastern and Western knowledge), followed by the 100 Years War and the constitution of the first permanent national army in the île de France.
The twelfth century saw the passage from the refined and symbolic Roman to the Gothic style and the modern craze of transparency and playing with light, further pushed today with the reconstruction project providing a gigantic transparent surface above the crypt under the Cathedral forecourt.
A forecourt where performances were organized that helped the population to rise to the spiritual, as evidenced by the "Vray Mistère de la Passion" of Arnoul Gréban (the last attempt of realization of these mistères happened in 1992, but was skilfully torpedoed by the Parisian "ediles", so betraying their distant predecessors who had commissioned the first).
A cathedral aimed to produce a "compendium of the universe" and involved extensive knowledge from the builders (architects and various stonemasons, carpenters, etc.)
All traditional trades implied or allowed practice of spiritual realization. The rhythmic activity of the stonemason or carpenter was sometimes combined with the invocation, loud or silent, of a divine name (mantra). There were also many women who worked in all these trades (glassware, decoration but also structural works).
What more does the history of tradition tell us? First, that the creation, little by little, of the national identity of France around Paris is a manifest imposture: one of the major sacred "energetics" flows (telluric lines, or leys) links the pyramids of Gizeh to Stonehenge while passing through Arles and ... Chartres, not Paris (Paris is in another set including L´épine and Auxerre). All the ancient ritual places are connected by these lines, which did not know Le Corbusier when building the chapel of Ronchamp, since his concrete poop has zero "resonance".
The knowledge of these sacred flows is reflected in Feng Shui and it is interesting to mention the recent conviction in China of a blog that had dared to criticize, according to the principles of Feng Shui, some buildings made by the star architect Zaha Hadid. This seems to indicate that modern China will sink into chaos just like the West, which is normal since it has become the social model of the new world order...
As for Freemasonry, it was put to sleep in 1702, because "there was no longer enough qualified person". However, it was quickly recovered by modern impostors who seem to have kept some knowledge of "wandering influences" and the power of spikes, as evidenced by the stunning number of spikes (metal and other: Eiffel Tower, obelisks ...) nailed in Paris (and elsewhere). All the degrees of Existence are hierarchically organized according to analogous laws, but these influences are of different natures, the psychic domain being however much less restricted than the physical domain and especially much more complex and so dangerous that one should not play with that stuff.
It thus appears that this "esoteric" knowledge went to extinction towards the 17th century, the Rose-Croix would have "gone towards the East" at the end of the Thirty Years' War, which btw. saw the massacre of 250,000 Lorrainers by the "French" army, nearly 60% of the Lorraine population. Curiously, my viola da gamba model Michel Collichon precisely dates from this period.
Which brings us to our hypnotic variation of today:
Hypnosis and show
Passivity: the spectator, having no longer to apply the symbolic method, can only endure the show.
Disinterest: in fact a forced interest for subjects which emotional level is well below the disinterest.
Start suggestion: the mundane culture takes care of it: "you must have seen the last ...".
Benefits: see adverts ...
Manipulators: The actors have no specific training, the simple fact that their roles lead them to play low emotional levels is enough.
For a better understanding of the symbolic method, I must add that the word dia-bolic is fundamentally the inverse of sym-bolic: a dia-bolic attitude separates, a sym-bolic attitude brings together. But to separate or gather what? Fundamentally: the unmanifested and the manifested ("Creator and creature") -> a causal relationship is essentially indestructible (an effect cannot exist without its cause), any attempt at separation is the very principle of error since it only ends in what is properly an illusion.
The diabolical attitude, so to speak, "exasperates" the movement of the universe by bringing something in perpetual imbalance. The symbol, in its original sense, connects but does not mix up as in its romantic degeneracies (Wagner, I order you out of this body!).
Finally, in this traditional knowledge, and to remain in the symbol that "signals a direction" like a finger to the Moon, there is the materia prima which is not manifested in this world, so always remains unchanged, therefore virgin, before as well as after the manifestation. It is sometimes represented by the color black and personalized for Christians by Mary, venerated by Muslims as Maryam, and a famous chapel is dedicated to her at Glastonbury on a telluric line connected to Stonehenge.
Stonehenge some say that its construction dates from the beginning of the era of the Fish (?) ...
Be that as it may, the symbol of the fish seems highly favored higher up: the Chinese dragon (Log) appears as the Great Fish that carries on its back the secret precepts of the Law, one of the avatars of Vishnu is Matsya, under the form of a fish "savior", and we also have Ichthus, used as a symbol of Christ by the first Christians.
Fish also represented by the Arabic word nûn, which is also a letter used for the prophet Jonah who is then called Dhûn-Nûn and who preserves in his whale the knowledge during the period of darkness. This nûn letter that can be completed by its Sanskrit equivalent letter .na (reduced to its basic geometric elements) to represent a circle with a point in the center. And finally, almost all the divine manifestations of the planet are born of a virgin (and the Zeitgeist crowd still giggles).
So, whose Lady is she?