Page 12
23.5 Degrees
Part 3: Conflict, War and the Enlightened
Again, if the present tilt of the earth's axis is essential for life and harmony on this planet, then why does the angle of 23.5 degrees appear in an illustration featuring Leviathan - considered to be associated with serpents and dragons - metaphorical creatures used to signify the most powerful destructive force in the universe - and also referenced in paintings and works of art that depict scenes of battle, war and conflict?
Look at this example below - a medieval battle scene. All the conspicuous linear elements in the painting which are asking to be measured, such as the sword, the flagpoles, the sword in the ground, the cross emblems on the horse's attire, even the Knight's body, are all inclined at the angles we are now familiar with.
35. Medieval battle scene. Artist and title unknown. Painting sent in by Don Barone
Who painted this picture of the charging knight in battle? Whoever it was had understood the same information and knowledge that Edward Collier, and perhaps hundreds of others, had encoded before him. But why encode this information in a scene that appears to have no connection? The only explanation I could see, is that again it was/is believed by those who have encoded this information, that war and all kinds of conflict - regarded as natural elements in human nature and experience - are really the result of the tilt of the earth's axis, or that the tilt reflects this imbalance and general disharmony in the collective human consciousness and vice-versa.
Below is an interesting illustration by a 16th century Dutch painter - again brought to my attention by Don Barone.
36. The Arrest of Jesus Christ by Marten van Heemskerk (1498 - 1574).
We find in this painting, as in several other paintings, the same feature of the angles of 52º , beginning from the bottom corners and reaching up to the point above the head surrounded by a halo of radiating light - as if identifying the enlightened 'Shining One'.
But this is also telling us that the apex, or Benben capstone of the Great Pyramid also represents the point of enlightenment . . . everything reduced to zero-point at a point above the head. While Jesus stands upright, all the Roman soldiers who are arresting Jesus (except the individual on his left) are leaning at 23.5º from the vertical - as is the spear held by the Centurion on the right who could be Longinus.
37. The reference to the Great Pyramid via the 52-degree angles and the apex associated with enlightenment - the Bindu point above the head
Below is another painting brought to my attention by Don Barone - Coronation of Pope Celestine V. Location: Louvre, Paris, France. The Coronation of Pope Celestine (c.1215-1296) took place in 1294 and he was made saint in 1313.
Painted during the 15th century, the artist remains anonymous although some believe that it may have been Barthélemy van Eyck - nephew of Hubert and Jan van Eyck. (Information by Mark Harlem). See here:
38. Coronation of Pope Celestine V - artist unknown. 15th Century.
This painting is interesting in many ways. First of all - and before we go onto the angles in the painting - here we see an example of the opposites signified by the individuals dressed in the colours Red and White and who each have a hand on the crown.
Red and White symbolism, sometimes joined by Black - keeps cropping up in myth, legend and sacred lore the world over.
For example, there are the red and white dragons of Chinese myth and philosophy – dragons being the Far-Eastern equivalent of the serpent. There are also the red (male) and white (female) intertwined snakes or serpents that cross each other at specific neutral ‘power points’ around the symbol of the Caduceus staff – a kind of ancient standing-wave diagram. All this symbolism derives first and foremost from the Triad of positive, negative and neutral - and the chakra system of seven levels associated with the spinal column. The arms appear to represent the positive and negative opposites associated with the pingala and ida serpents (male and female etheric nerve channels) - that at the climax of enlightenment unite and fuse together, beoming neutralised within the neutral sushumna, where the energy then rushes upwards to the centre of the head and at the top the head - the Crown Chakra. The crown chakra is represented by the jewelled crown being placed on the head of Celestine V - the cross signifying the Bindu. This painting is really an allegory symbolising enlightenment through reaching the heavenly 'godhead' within.
Like Jesus 'the saviour', it appears that Celestine V was believed to have been an enlightened one . . . perhaps a 'Shining One'.
And we note that Celestine is wearing 'blue-black' - meaning neutral - i.e., 'third force' - and he sits in the rightful position - i.e., in-between the opposites and at the centre.
