Masters of the Arcane Geometry of the Rose
Víctor A. Cabello Reyes C.R.+
Light links that have been kept and protected for many centuries without interruption - as beacons and custodians - the Seed-Code-,genetics of the queen bee Dat Rosa Mel Apibus or The Rose of honey bees (Joachin Frizius, Summum Bonum).
They jealously guard the most venerable and ancient traditions of Prisca theologia and the Knowledge of Ancient Millennial Traditional Architectural Arithmosophy.
This Geometric and Initiatory Wisdom, has managed to flow and ebb, arise and re-emerge, among the constant esoteric currents and currents that come and go - sometimes become internal as well as external -, in achieved unaltered and unalterable forms through the centuries.
For many centuries, these worthy brand or sign Masters have reappeared, vibrated, greened, disappeared and reappeared as serious and jealous custodians, reaffirming and pointing out that which no one can usurp, let alone attribute to themselves: I Discovered!
You cannot discover, much less 'rediscover', what has always been able to manifest itself as present and alive diaphanous and clearly in the architecture, sculpture, floral-painting and, in the rhythmic literary Musical poetry of the Great Ancestral Masters of the Flower .
The Divine Rose, has not been and cannot be - unfortunately for some-, recently discovered' by neo-motivating merchant lecturers, of an uncertain profane modality of ill-fated pseudo-initiatory expression.
Reminding us of those mind blowing blowers and spagyrics, who were constantly appearing in full swing in the days of the true Master alchemists.
We can say that this legion of phonies, tricksters and merchants, concerned only with achieving wealth, abound and resound among the halls of modern neo-motivating and pseudo-occult fables.
They echo discordantly in the Courts of the pseudo-esoteric ''slapstick'' as they consider 'themselves' as the glorious living incarnations.
The Rose, the Cross, and the Ancestral Fragments or florilegios go much further back in the historical and documentary evidence of the so-called 'historical brothers' widely known as the Rose + Crosses of the famous Rose-Cross of Kassel-Hesse (1614).
They recognized it themselves!
These Divine symbols are already openly manifested among the primordial-geometric forms of nature itself: geometric forms in flowers, trees, stones and crystals.
The Divine Golden Ratio, is a faithful manifestation of the primordial Monad originating in the stellar Cosmos, deposited and anchored deeply in the same perfect model of the body of man - (golden-pentagon rectangle) - or filius microcosmi.
For this reason, the Flowery Masters were able to resort as well as directly to the theurgical harmony of the cosmos.
From there, then, they could take or access their vibratory musical tone and spiritually nourish themselves from the historical evidential past (Neo-Pythagoreans).
From that state of being, ERA Y ES= is possible to subtract archetypal patterns and delve into the multiple sources of that documentary dimension, how to investigate the Essence-Wisdom of other even older Traditional Mystery sources=Mysterium magnum.
This Traditional Legacy would be numbers, the ancient arithmosophy-pansophy-arithmology, and the sublime simpler and more formal geometric forms, such as the Divine Tetractys or the simple cornerstone.
This Floral Cosmic UNIVERSAL SOLA Pattern, catapults them into the infinite universe of the harmonic realities of the metaphysical arithmetic number.
Cyclic inhabitant and tonal-vibratile resident, between the earthly and celestial worlds immersed in the complex geometric-mathematical-zodiacal system.
By knowing the Elementary properties of Numbers, Geometry and Mathematics, one could also and in himself 'enable and enlist' -it was the call of the floral vision-, to be able to enter the Portals of the Rose Gardens.
The Atalanta Fugiens (Oppenheim, 1618) said:
"Whoever wants to go to the philosophical Rose garden without having the key does as the man who wants to walk without feet".
Count of the Flower Dr. Michael Maier -Master of La Rosa-, affirmed that if you could not hold on one leg on a flat road, you should not even try to climb the 'Mountain'.
The Geometric Rose - for Master Dr. Michael Maier -. wore green.
The Sage cuts it ... without pricking.
Access to the 'Mountain of the Philosophers of the Rose' is closed and obstructed by a guardian wall of sophistical errors.
This HERMETIC Wall or Fortress is huge and extremely compact.
It is truly a medieval Castle, Protector of the desecration of lots of Fools and Idiots, and of tricksters or legions of charlatans and merchants of knowledge.
The 'Fama Fraternitatis' clarifies the matter for us:
"In vain: Our building must remain inaccessible to the wicked world"
(T. Schweighart, Speculum sophicum Rhodostauricum, 1604).
The flowery teacher, Theophilus Schweighardt= (Daniel Mogling 1596-1635), writes what we can consider for many to be the fourth Rosicrucian Manifesto, in his 'Mirror of Wisdom' = Speculum Sophicum Rhodo-Stauroticum.
In the complex and enigmatic frontispiece or Temple of the College of the Rosicrucians (1616-1618?).
It exposes us:
'Sub Umbra Alarum' = In the shadow of Your Wings - the pansophia or principles of the Brotherhood-fidelibus-pansophiae-studiosis-. of the Brotherhood of the Rose.
We must clarify, and note that the Manifests are not really the real origin of the Knights of the Rose.
They are the ancient Knights of the Rose for centuries and centuries, Masters of the Rose, for INCARNATING ancient principles of the Arcane Arcanissima.
They are spiritual fraternities prior to the 'resurgence' German early 17th century.
We clarify this constantly recurring error.
At the beginning of the 17th century (1604-1606), the teachers of The ROSE= La Rosa, closely observed the sky, some of them are astronomer-astrologers and architects.
The Serpentarium constellation (1604), the Cignus constellation, and the constant astronomical discussions and allusions -among them; that two new stars appear was a sure reason for extensive discussions on astronomical matters at intellectual levels.
We know that Johann Kepler, had already announced it in his:
"De Stella Nova in pede Serpentario" (1606).
Something very strange was happening in the sky that the Masters of the Rose warned and observed in the rigorous study and careful observation of the Swan Constellation (Swan-1602), and the Carrier Serpent in 1604.
Dr. Daniel Moegling, was then in those circles, as a doctor of the Court of the Landgrave Philipp Von Hessen, where he could study astronomy, painting and the documentary fields and treatises of knowledge.
He knew from initiatory experience that the Order had particular characteristics as the Invisible Order.
His precept would be: "La Morada de La Rosa Cruz is not a place, but it is everywhere."
He verified that in the zodiacal Celestial Circles - the music of the spheres -, there are certain cyclical impacts on the 'roads' or paths of the planet that go as a Single String or 'Monochordum Mundi' that comes from the Sun = 1 of the Tetractys, as the Tabernacle of God-Psalm 63: 7-
(From Harmonia Mundi, Francesco Giorgio).
We are currently in some eighth musical of that same Solar instrument!
Over there, it is that one 'rises and falls', between harmonic and inharmonic tones, pauses and setbacks
(Athanasius Kircher: Musurgia Universalis, 1605).
Music-Geometry-Mathematics are the same thing: intervals, scales and tonalities demonstrate this.
The True Flowery Master is discovered by having and working a Pure Heart and a righteous life.
Your mirror is Wisdom!=Speculum Veritatis.
The Rose is alchemical, as Symbol of the Gardens of the Rosary -Rosarium-, of the river of Roses of the SACRED MANTLE.
The treatises are known as Rosales!
Magic-Kabbalistic-Alchemy, become its essential components.
Its mature principles can be found exposed in the same architecture of the Middle Ages, among the wise builders and brotherhoods of temples and workshops.
Later they appear in the poetry of the Fabliau (Fabliaux), and in the enigmatic tales of the minstrels and singers as early as the twelfth century (1150 to 1400) and until 1400.
Clearly exposed the Hidden Wisdom of the Monochord-tonal-geometric-musical by Pope Florido, esoteric and magician, alchemist, Sufist, astrologer and excelent mathematician-architect, who introduced the decimal and zero systems to Europe, the Wise Gerbert de Aurillac or Pope Silvestre II.
This Wisdom of the Rose was not brought to Europe by the Knights of The Cross = Crusaders, at the dawn of the 12th century (12).
It already existed and was very well exposed by the Master Builders since before the Cluni, Cister or the origin of pointed art.
ETERNAL Forms that were previously manifested in the Benedictine Orders and in the Sacred Montecasino.
Its principles and teachings were subsequently assimilated by the Mester of the minstrel and by the wisest of the Mester of the clergy.
The Poetic tradition of the Roman de La Rose, which the gentleman of the rose bush Guillaume de Lorris sings to us in flowery verses (1225-1240, First part), is the most vivid example of the manifest continuity of this old knowledge. It is here that the fundamental principles of florid morality are "hidden" and concealed.
Love, generosity, education, courtesy, discretion, devotion and patience are just some of the 'characters' that embody the Flowery Romance.
It is Jean de Meung, the French vate, who continues the second part of the Roman de la Rose (1275-1280).
For the Rose to Germinate and its Petals to sprout in the heart, it is necessary to receive the heavenly help in 'Labora y Ora'.
Of a simple sweetness of gaze, pleasant thought and the Sweet Verb of musical poetry or Geometry and cadence of a tone Light blue.
Dew from Heaven!
There are enemies of the Knight of the Rose. In the flowery field hide the painful thorns of danger, shame and fear.
The thorns of ignorance-ambition-hypocrisy, that with the Flaming Sword and the pentalfa or Pythagorean five-pointed star, we must fight and be able to win.
The circle of Prague and the master builder of the square and the compass (Rejt; sign or mark in the Prague Castle) Benedikt Rejt (1453-1534) ,already in his career received from the construction forms of the Basilicas of Saint George and St. Vitus' Basilica in Prague Castle (860) moves with the flowery geometric shapes of Vladislav Hall.
Giuseppe Arcimboldo and the brilliant flower teacher Albretch Dürer -, both from the Prague circle - will delight us as they did the restless and very fine spirit of the masterful and misunderstood Rudolph II.
The Masters of the Rose are those who jealously guard the Arcane Arcanisima not only in Europe, in Ancient China and even in Ancient Mesoamerica.
The Elderly custodians of the flowery virgins are also those who emit Flowery Virgins=Vírgulas, in their Flower and Song and in their saying.
It is the Flowery Masters who originate from their original origin of Akatl-Tortuga-Turtle-Sacred.
Important is the fact that the Power of the Floral Geometry of the Rose, is clearly established on the geometric mat of the Sacred Canamayté as Eternal Cosmic Pattern.
The Invisible College of the Rose and the Cross+ is a light state of the Inner-Being-Heart.
They embody the Sacred Pelican that feeds their young on the Crimson-Purple Blood that flows from the flow of the Heart.
Listen well, attentive Ear!
Masters of sign-architects-freemasons-scribes-builders, painters-sculptors, who here in Mesoamerica also come to shine in fascinating and wonderful constructions of the highest and most refined Chrono-Crotalic-Geometric-Astronomical-Zodiacal Vibration.
Painters who left us valuable samples of this Flowery knowledge, on the Camino del Rocío=Way of the Dew, with multicolored flowers and chromatic petals, as sweetly aromatic.
sweetly aromatic.The Energy of the Geometric Flower, is internalized in order to be received in mathematical forms of telluric nature.
So that the Floral Principles, are accepted and Merged between the Internal Processes of Initiatory capture and assimilation.
The Golden Flower is deposited in the intrinsic quarries of the hidden nature of our raw stone.
The Chinese Flowery Masters clarify this by stating that the Golden Flower, or the Golden Flowering, resides in the jade stone or lapis philosophorum.
"The Golden Flower opens in the Purple Hall of the City of Jade."
The Golden Flower is Light, and the Light is TAO!
Rosa Florescens, from the river of roses and MANTO SACRO from the garden flowered in the devotional Rosary of the Flowery Heart- Summa Scientia Nihil Sciere= (The highest science is to know Nothing).
Flowery teachers are apprentices because they preserve the child's fascination with everything.
They do not need titles, much less, that refer to them as famous biblical kings, pharaohs or gods and a thousand other fantastic names and resonant titles.
Everyone wants to call themselves reincarnated from the pharaonic or semi-gods of Olympus.
No one wants to be humble himself anymore: have a simple name and be simple.
The real Flowery Masters are humble stone artisans, labradors, polishers, simple masons.
Common people!
Knowing is Remembering!
The Artistic Tradition of the Rose is widely manifested in the multiple styles that maintain the geometric principles, but it respects, the particular style of the artistic personality of the other.
Skilled master builders, painters and craftsmen with their seal, unique and distinctive brand.
They keep the key to the temple that for millennia has been hermetically guarded in the various initiatory and mystical orders.
The geometric-mathematical-musical wisdom is deposited in the initiatory germ of the Divine and Solar Orphic Mysteries.
It embodies the Apollonian lyre that Hermes gave to the Apollo lot, comparing and following the faithful testimony of the neoplatonic initiatory tradition taken a posteriori by Plato, of the Orphic Mysteries and of the same mathematical tradition of the Pythagoreans.
The Golden Book is a scroll that passes from generation to generation like seeds in the garden of the cultivator's field.
"In order for the alchemical rose in the garden of the philosophers to flourish, one must respect the natural laws that govern the cultivator's field"
(Lucien Gerardin).
Flor-Per Crucem ad Rosam is received from the Dew of Heaven which is "Golden-Solar Rain".
The Sacred Art of Rose shapes contains a rich inherent, immanent and transcendent symbolism that multiplies in rich meanings and in gradual geometric shapes of high significant complexity.
Thus, the sacred tradition of the Knights of the Pelican is based on those structural Models of Celestial Ancestral Geometry that have been transmitted by the masters in workshops, guilds and lodges, and in ancient brotherhoods of artisans and painters.
The arts and crafts have for the teacher-apprentice relationship an urgent sense of a very powerful sacred message.
There was for the Master sculptors, architects and painters that genuine deliberate and masterfully structured feeling in their initiatory processes.
Like a ladder or levels of knowledge that goes hand in hand to the neophyte who seeks light among the various fields of art or Magnum Opus.
Alchemy-architecture-kabbalah-painting-music-geometry-astronomy-astrology, go hand in hand, like a Geometric Pansophia.
Cube-pyramid-optical perspective and structure of the human body together make up the components of the Cosmic-Earth Temple.
A Great Geometrist and a well-structured celestial plane exposed in the earthly constructions of sacred art.
The Flower Masters are the repositories and they are in charge of transmitting it in the hidden symbols and in the various optical perspectives immersed and visible in their pictorial art.
It is the Ancestral Vision that crystallizes and is 'lowered', by the MASTERS OF FLOWER thanks to the purity states of the inner being.
It is these internal states that can qualify them so that they can then manifest certain artistic disciplines of Spiritual-Philosophical expression.
The hierarchical structures of the mathematical forms of the Universe are manifested in intelligible and worthy of study as well as deep meditation structures.
WE ARE COSMOS.
With a certain formal rigor and more personal sacrifice, these angelic hierarchies with harmonic -numerical-musical chromatic overtones and in their expressive bodies, are manifested externally in the same patterns of sacred art in architecture, painting, as among the many and varied forms of Floral and ogival art.
We can observe, in graphic art and in the beautiful representations of Johannis Theodore de Bry (Hieronymi Galeri 1619), and of his nephew Matthieu Merian, in whom we have the visual example of the rich and fine conceptual flowery works of Oppenheim and Frankfurt.
The art of the temple manages to crystallize and become concrete from the simple mathematical forms of a sacred architecture.
It is enriched by Celestial Knowledge that is transformed into polychromies, temple, body and geometric symbol; merge and complement each other in a process of uniqueness, with a well-clarified architectural projection and direction in a philosophical orientation highly defined by the internal experience of the Wise Master Builder.
Man is then, the earthly, 'Measure' of that Celestial crystallization'.
Its Heart is the Geometric Center of=The Cross and The Flower- LA CRUZ Y DE LA ROSA.
The complex diagram of the human body is the basis for studying the most complex forms of the zodiacal rhythms and the astronomical dialectical spiral-circulation of the cosmos.
The stars are in our body!
The complexity of the Celestial numbers and harmonies are deeply planted - like Solar Seed -, in the physical composition of the structure of the human body and their measurable 'physical' manifestations are the cubic measurements of the forearm and the palm of the hand.
These manifestations are extended by marking the 'measures' of the hand in creative extensions of the arithmetic-mathematical forms of art.
Finger of the Architect (Miguel Ángel -Sistine Chapel).
Music and harmony thus turn out to be the harmonic sounds of the arterial blood component since the blood carries the genetic connection of the code of honey - Dat Rosa Mel Apibus -, as an integral substantive part of the concrete manifestation of the sounds of the roads or paths planetary= (planetary correspondences in the body) of the zodiac.
They materialize in the parts of the body that as celestial alchemy nurture astrological correspondences in the chemical-alchemical circuits and components of the human body.
As above, so below.
Dr. Robert Fludd, had already glimpsed these blood sounds following the keys of the work of Paracelsus (Master of the Flower), in the studies that as a doctor he shared with Dr. William Paddy and his friend Dr.
William Harvey; related to the hidden discoveries of "blood circulation".
We vibrate in a particular way and in a unique tone, it is the heart that original drum of primordial galactic sound that manages to unify and in octave-major zodiacal-planetary tones.
The nine spheres from Urania to Thalía, fuse and integrate the planetary unification from heaven to earth
(Schema Symbolicum Novem Musarum et Apollinis).
The Pythagorean 'Lambda', is also the numerical value 1-2-4-8 and 3-9-27.
As the musical scale of world harmony for the floral master Francesco Giorgio.
The Monochord exposed by Dr. Robert Fludd (Rose+Cross), is the direct rationalization of the radial harmony of the universe that vibrates materially in the sublime mathematical forms of Radial-Solar-Numeral expression.
se+Cross), is the direct rationalization of the radial harmony of the universe that vibrates materially in the sublime mathematical forms of Radial-Solar-Numeral expression.The lower states of 'melancholy' (Alberto Durero, Maestro Florido), represent the effect of this affective internalization as a consequence of the activation of a mathematical scale in minor octaves.
The Ancient Oral Traditions say that the Apostle Saint Peter appears to the Master Builder Gauzón, and gives him in a Vision the Sacred Geometry of the temple of Cluny III.
Centaurs and Phoenix Bird, lions, prophets and singers intermingle in the Floral-Spiral motifs of the decoration of the Santes Creus.
Style carried by the nomadic brotherhoods of builders in that 'Go and Come' to San Galgano, Fossanova or Casamari in Italy.
Sacred Square, how well the 13th century Master Architect Villard de Honnecourt, recognized when he exclaimed: "Vesci une glize D'Esquarie, ki fu esgardee a faire in L'ordene de Cistaus" =(Here is a square church designed by the Order of the Cister).
The Cister has a very special predilection for the Virgin Mary-Feminine Divinity.
The architectural legacy of cathedrals and Gothic Churches will preserve the millenary substrates of the master-, architects and masons who carved the 'raw stone', who knew very clearly that behind the construction and decoration was a Hermetic Veil of Arcane Wisdom.
In Santa María Novella, this artistic legacy is profoundly enriched thanks to the guild of Arte Di Calimala, as well as the construction wisdom of the Master Architect Arnolfo di Cambio.
Gently reaching the Rosslyn Chapel in Scotland, where the famous Learner's Column brings together the Flower-Rose-Rose, designs that only a Master of the Rose and the Phoenix can teach with Wisdom.
The Divine Ghiberti (1378-1445), who in his design of the Gates of the Baptistery of Florence donates to Humanity (After the competition of 1401), the grandeur of the Biblical Symbol Rosal, as an artistic heritage of the Guillen Florentine.
The Golden Ratio system received from the Roman tradition is preserved, used and transmitted, by the Master Painters (Duccio, Cimabue), as well as by the direct teaching of the architects Alberti, Bramante and Palladio.
The sculptor Nicola Pisano said that his way of working was based on the: "AlI'antica" principle= "Nothing New".
Many of them (not by chance), among the great artists were architects, painters and extraordinary sculptors.
They were taught how to necessarily look and look into the past.
Among the ruins of Imperial Rome, the Flowery Masters found the arcane wisdom, the hermetic symbols and the mythological wealth that the Hermetic-Mythological hides.
The Masters Brunelleschi and Alberti recognized the Vitruvian Geometric Pattern, (Marcus Vitruvius Pollio - Roman architect: De architectura Libri Decem: Third Book), that will obviously be the model of the Majestic Constructions of the time, Vatican.
This Mathematical Proportion does not forget the Great Mother, nor the Feminine Divinity-SOPHIA-, that hides between Virgins and Madonnas, Mater-Matrix-Matron-Matrices.
Phoenix Bird Fire Athanor as between the elusive mythology of flowers-roses and shell.
(Boticcelli-Birth of Venus:1484-Uffizi Gallery)
In Majestic Siena, inside the Capella della Piazza, the Beautiful Feminine Divinity was offered to protect them during the terrible Black Death (Black Death 1348).
Impossible not to mention Duccio di Buoninsegna, that Teacher of the Feminine Goddesses with the finest virgin-feminine Maesta (1311), where the wisdom of Byzantine art, Gothic figures and Florentine colors are integrated
(There is no complete Harmonic Proportion without the Feminine Forms).
Model that the sublime Leonardo da Vinci knew and a copy of Vitruvius, his Man-Temple Ratio, which Brunelleschi will wisely associate and identify as a mathematical problem (Forty-seventh, 47, Euclidean), that governs perspective.
"Geometric projections had long been the Hallmark of the medieval masons' system of construction.”
(Chronicles of the Renaissance: P. Furtado, p. 70).
We observe countless churches with the Patron Saint of La Cruz= Santa Croce.
Architectural Mathematical Proportional Harmonic is in a Proportional Basic Radius= 1: 2, 1: 5 and 2: 5 (Hospital Inocentes Florence).
Francesco di Giorgio already illustrates that the Vitruvian measure was inherent in the Human Body.
And the Masters of the Order of the Phoenix knew that this ratio is the Golden Ratio-Aurea-Solar + Floral, the Geometry of the Human Body is then combined with floral links that emanate from the Sun as crystalline lace of musical cosmic pulsating effluvia in mathematical proportions- geometric
ral, the Geometry of the Human Body is then combined with floral links that emanate from the Sun as crystalline lace of musical cosmic pulsating effluvia in mathematical proportions- geometric(They reach water as well as crystals and stones).
The Man is the measure of all things established by the deity as the Great Geometric Architect of the Universe.
He designed the Divine Proportion in the Heart as a Solar-Altar Center.
The initiate Abbot Suger de Saint-Denis, knew the mathematical pattern and the Harmonic game of Stained Glass Prisms
(The Art of the Italian Renaissance, p. 116 by Rolf Toman).
Who as Solar Chromotherapy created a very subtle Vibration among the monks and visitors to church.
The Symbolic Painting also keeps the "treasures of teaching" received from the Ara Pacis-Roman (Altar of Peace), by the teachers and priestesses of the temple to Apollo Sosianus with their sacred Swans (20 BC).
The Swans circled Delos seven times ... and had not yet sung for the eighth time, when Apollo was born (Hymn to Delos, Calimaco: In Fulcanelli, p. 107).
Swan of Leda that contains the Mystery of the Magic and Sensuality of the Flower-Flower-Essence.
Italy, etymologically, is the Earth Mother-Feminine Divinity.
The Primavera by Sandro Boticelli (1478), is deeply influenced by the Currents of neo-pagan thought and the multiple harmonic musical symbologies between the Roman Flower-Flora with their corresponding Musical attributes= (Three-Graces).
Musical harmonies that Alchemy will take up periodically, as the base and foundation, of the Flowery Awakening and that later the alchemists will preserve in their Royal Art.
The "Sacred Music" drives away melancholic and evil spirits, it is inscribed among the musical instruments on the central table of Dr. Heinrich Khunrath.
(Amphiteatrum Sapientiae Aeternae (1604)
Seven candles-lights on the ceiling chandelier, Pentalf Five-Pointed Star in his Altar, 'Festina Lente' well says the Athanor-Dormiens Watch-, while you sleep, written in the upper central hall of Heinrich Khunrath Altar.
Saturn is a Symbol of Alchemical + Cross.
Dürer's Melancholy is Saturnal!
Sacred harmony that 'vibrates' in the mathematical Proportions and Geometric, coordinates as the maximum expression of the Celestial Harmonic Musical tone of the knowledge pattern immersed in the Quadrivium.
Florence is the City of Flower and essence.
Painting is a Book where Wisdom is maintained and preserved with the sly endorsement of Initiated Artists and ambitious Patrons.
The Master of the church of Santa Croce, Giotto (Death of Saint Francis-Bardi Chapel), Da Vinci, Giovanni Bellini, Raphael and others, were Light beings who as 'receivers' of the Superior levels of the Musical-Scale- Artistic-Vibratory.
In them a flow of Celestial Images and Archetypes would be deposited that later 'sprout', after a rigorous and methodical educational-practical process in the Workshops and Guilds.
According to ancient traditions, Gilgamesh seeks Immortality, that potentially possible Eternal principle, but his feat is made impossible since a Serpent steals and eats the Sacred Rose Plant of Eternal Life.
The legend says:
“A serpent sniffed The Fragrance of the Plant, came out of the water and snatched the plant. When she retired she changed her skin ... The Flower + Plant is said to have been taken by Gilgamesh and the rose pricked her hands.
Pink-Purple.
The same text states: “His thorns will prick your hands like The Rose. If your hands get the plant, you will find new life ”.
THE ROSE-La Rosa coincidence?
Possibly one of the first written manifestations of the initiatory tradition of the Purple Flower, (Gilgamesh pricks his hands and bleeds the flower, turning its color into Purple-Chermes= (Arabic: Kermes-Purple-,Latin= Carmesinus).
(THE WAY OF THE TOABEY)
Victor A. Cabello Reyes.C.R.+
Comentarios
Publicar un comentario