THE DUALITY BLUEPRINT - Orion Symbolism Shapes our World

The Orion Nebula is one of the most scrutinized and photographed objects in the night sky, and among the most intensely studied celestial features in recent times. According to Astro Science, the Orion Nebula reveals much about the process of how stars and planetary systems are formed from collapsing clouds of gas and dust, which are in abundance with the Orion constellation. Yet, there is so much more to Orion as a symbol or archetype.

The colourful cluster of glowing, interstellar gas clouds and hot, bright, newborn stars within the Orion Nebula, can be seen forming two distinct ‘red/pink and blue’ areas when viewed with powerful telescopes (see figure). The ‘blue’ area to the left is the ‘Running Man Nebula’ (SH2 –279) and the pink/red area to the right, is the ‘Orion Nebula’, which reveals the ‘House of Fire’ (the white-hot area) and the Trapezium. Other nebulas within the constellation, near to the Orion Nebula (M42 region), are the ‘Flame’ Nebula’ and ‘Horse Head’ Nebula (Barnard 33), the latter is just south of ‘Alnitak’, the brightest star in Orion’s Belt (see figure 335). Alnitak means ‘The Wounded One’ or ‘The Slain One’ in Arabic, the warrior. There is also the Witch Head nebula (IC 2118) caused not only by the blue colour of Orion's star Rigel but, also because of gaseous dust grains that ‘reflect’ blue light more efficiently than red.

The blue and red nebula's of Orion

The Mayan underworld, Xibalba, as described in their sacred text the Popol Vuh, also seems to relate to the nebulas in Orion. For the ancient Maya, Xibalba was made of ‘houses’ through which the soul had to travel; each house was occupied by a range of dark entities such as jaguars, bats and fire demons. These astral (darker) entities (forces), such as the Jinn (Islam), Sidhe (Irish myth), Wiwila and Cun Otila (Lakota) and Asuras (Hindu) in Indian belief. They are also 'root stories' connected to dragons, gnomes, fairies and witches found in folklore on one level; along with the angelic worlds. All are part of ‘unseen’ forces sometimes seen inside the ionised gases and ‘electro-magnetic dust’ creating such nebulas. Images of dragons, various faces and a bird seem to appear out of the dust within the Orion Nebula, which is not Pareidolia as far as I understand. The researcher, Danny Wilten’s enhanced analysis of the Orion Nebula (in his book Orion in the Vatican) clearly defines what appears to be a bird, an eye, a figure facing the Trapezium (with smaller figures) and a dragon. Wilten’s book demonstrates how Pareidolia can be debunked through the study of single-image stereograms (autostere-ograms), designed to create the visual illusion of a three-dimensional scene or image.There is a distinct sense of various forms appearing within the nebula, not least the face of the bearded man and a horse, or dragon (see figure below). The information here in some parts inspired my painting, Eve and Adam in the Garden Amongst the Stars.

Orion’s Caves of Creation

In creation myths and migration records of the Toltecs of Central America, there is reference to what indigenous accounts call the mysterious opposing colours of red and blue ‘Springs’ or ‘Caves’. The same caves can be found in South American and Zulu legends. According to the Toltecs, these ‘red and blue’ origin symbols (a circle and square spiral), relate to their warrior god ‘Huitzilopochtli’, who is another version of Orion. I feel these Toltec Springs (or caves) are a symbolic version associated with the Orion Nebula and its ‘creation’ elements (see figure). The blue, circular spiral and red, square spiral springs also form part of the myths connected to the Old God, ‘Huehueteotl’, who was considered the 'lord of duality'.

The Mythical blue (circle) and red (square) origin springs, as depicted in the 16th Century Historia Tolteca, Mexico, Aztec Valley of Puebla.

The Red and the Blue

For the Toltec, Aztec and Mayans, red and blue colour symbolism also

relates to the ‘meeting place’ between ‘heaven and earth’ (sky and land) and every temple on earth is considered to be a central place of focus for dual powers. The Aztec myths, like the Hopi myths, speak of years of wan- dering and eventual settling in what is now the Texcoco Valley in Mexico. According to their myths, when the ancient Aztecs arrived in the Texcoco Valley, they saw a series of symbols indicating that this place was the location chosen by their ancestral god – Huitzilopochtli (Orion).

The same colour codes were used in the Matrix movie, for the pills offered to Neo (symbolic of Adam/Orion the first human) by the ‘god of the Dreamtime’, Morpheus. The colours are also used to denote the dual aspects of the ‘force’, in the Star Wars movies - the red Lightsabers of the Sith and the blue (or green) of the Jedi orders. Red (pink) and blue sym- bolism also appears on the ceiling art of Saint Mark’s Basilica in Venice (see figure below). The building is a profusion of domes and more than 8000 square metres of ‘luminous’ mosaics dating back to the 11th century. Part of the mosaic at the entrance to St Mark's Basilica shows a reversed version of the mythical red and blue caves, or holy springs. The blue and red circles, depicted in the gold glass tesserae, are symbolic of the seraphim (red) and cherubim (blue). I write at great length about angels in my books.

Mosaic at the entrance to St Mark’s Basilica, Venice, seems to depict the mysterious red and blue Springs (or suns/stars).

Mysterious Red and Blue Stars in Orion

I have researched Native American myths for over two decades now and from my understanding, I know enough to say that the ‘order of influence’ over our ‘human perception’ and therefore ‘our society’ (by non-human secret societies) has to include the giant red and blue stars of the Orion constellation – Bellatrix, Betelgeuse, Siaph and Rigel. As we shall see, all of Orion’s novas, his shoulders, knees and feet stars have been focused on by many indigenous people.

Bellatrix is a blue star, which is a Latin name for ‘female warrior’, and was also called the ‘Amazon Star’, the ‘Conqueror’, or ‘Lion Star’. To the left of Bellatrix is Betelgeuse, or Alpha Orion (abbreviated Alpha Ori), the ninth-brightest star in the night sky and second brightest in the constella- tion of Orion. Betelgeuse is also the ‘shoulder star’, and along with Orion’s ‘belt and sword’, is frequently referenced in ancient and modern literature. Orion’s stars even found recognition as the shoulder insignia of the 27th Infantry Division of the United States Army during both World Wars, influenced by the division’s first commander, Major General John F. O’Ryan (Orion). All military and often their insignia seems to be invoking Orion’s warrior spirit through such symbolism. The red and blue used on nations’ flags is very much part of this symbolism and much more besides, as we shall see. The colours were also used on the original Orion Pictures logo in 1978-1981, too.

In Sanskrit, Orion's star, Betelgeuse was called ‘Bahu’, part of a Hindu understanding of the constellation as a ‘running antelope or stag’. Again, this aspect of Betelgeuse and Orion relates to the horned clans and the cults on earth that work with this ‘trickster’ aspect of Orion.

In 825AD, the Japanese Samurai (who also wore horned head gear) seem to have focused on Orion’s stars (see figure 340). The Taira, or Heike Samurai clan, adopted Betelgeuse and its red colour as its symbol, calling the star, ‘Heike-boshi’. In the same epoch (900-1200AD), the Japanese Minamoto (or Genji) clan chose Rigel and its blue-white colour as its insignia. These two powerful Samurai families fought a legendary war in Japanese history, symbolic of the two stars seen ‘opposing’ each other and only kept apart by the belt of the warrior hunter - Orion. According to legend, due to the extraordinary bravery and loyalty exhibited by many members of both sides of this Samurai conflict, the colours red and white came to have special significance still seen in present day Japan, most notable of course in the colours of the Japanese flag itself.

The Samurai armour is also relevant to the types of entities connected to Orion (see my book Orion's Door for much more detailed information). Symbolizing duty, sacrifice, and loyalty, Rigel and Betelgeuse are still seen as reminders of these basic Japanese values. Thus, it may be quite appropriate that the bright stars of Betelgeuse and Rigel shine as emblems for the heritage of Heike and Genji (see below).

The Horned clans of Betelgeuse and Rigel.

The Colour Symbolism

In the Middle Ages and the Renaissance, the colour blue and natural ultramarine, was made by grinding and purifying lapis lazuli, the finest blue pigment to be found. It was extremely expensive, and in Italian Renaissance art, it was often reserved for the robes of the Virgin Mary and the celestial regions I have been discussing in the last few chapters. Human eyes perceive blue when observing light, which has a dominant wavelength of roughly 450–495 nanometres. Blues with a higher frequency, thus a shorter wavelength, gradually look more violet, while those with a lower fre- quency and a longer wavelength gradually appear greener in colour, such as turquoise. Isaac Newton included blue as one of the seven colours in his first description the visible spectrum. He chose seven colours that corre- sponded with the number of notes in the musical scale he believed was related to the optical spectrum. He included indigo, the hue between blue and violet, as one of the separate colours, though today it is usually considered a hue of blue.1

Red is one of the boldest colours in the spectrum and stands out in any work of art, hence its use to signal danger or warning. Red is used to contrast with its surroundings, drawing the viewer’s attention towards a particular point of reference. The 19th Century Royal Academy artist, J.M.W. Turner, used red in his feudal-like relationship with painter, John Constable. In 1832, while Constable laboriously put his finishing touches to the busy scene, Opening of Waterloo Bridge in the Royal Academy gallery, Turner, seeing that in comparison his serene seascape, Helvoetsluys was a little lacking in colour, entered the room, painted a small red buoy in the middle of his canvas - which had only taken him a few months to compose - and left without saying a word! The 'red splodge' immediately transformed the attention of those viewing the painting. Yellow and red together are the most noticeable colours to the human eye, hence why they are often combined in advertising, global franchises and corporate logos.

Checkmate - Duality in Everything

The idea that all colours are made from light giving us ‘seven’ colours of the spectrum (the rainbow) is only one part of the spectrum. We also have the 'lack of light', or ‘dark light’, at work within the universe. The lack of light gives us darkness and the lack of darkness is due to an increase in light. Light, in this context, can be seen to be ‘electromagnetic light’ but it also has a spiritual side relating to what the Gnostics called ‘dualism’. The principles of light and dark are also contained within the wisdom of the ancient texts like the Zohar, which speak of the Upper worlds of Light and the Lower worlds of Darkness.

The most common symbolism for the worlds of dark and light are found in chequerboard symbolism (chessboards) which captures the same duality, or opposing forces, I’m highlighting. The chequerboard has its origins in Persia before the crusades and can also be seen in petroglyphs of various shamanic cultures of Native America – cultures that used duality symbolism to focus on Orion and Sirius. Chess, as a game, probably invented in India and China, was initiated by the Assassin brotherhoods of 9th Century Persia and the Knights Templar of Europe as an ‘anti-church and anti-king (divine rule) game. The 8 x 8 squares of the chessboard is significant also, as it relates to the 64 codons and amino acids of our DNA, which also relates to the 64 hexagrams in I Ching; all relate to the use of light to construct reality.

The ‘Red’ & Blueprint’

The symbolism associated with ‘red and blue’ can be seen in so many areas. We find it in the ancient Egyptian ‘Hall of Records’, where Ma’at would oversee the weighing of the ‘red’ heart against the ‘blue’ ostrich feather. If the heart were ‘heavy’ then the soul in question would be fed to a demonic deity called ‘Ammit’ (the devourer of the dead). Red is the colour of death, anger (seeing red), fire, earth and blood (sport) and this is why red is seen in so many symbols, corporate logos and insignia. It also relates to deception (distraction), passion, war, the planet Mars and Saturn, which, as I have been illustrating for years, are all connected (see gallery). So many political world leaders wear red at events, which again is all part of the Cult symbolism and has a dualistic effect on the subconscious mind for those viewing them. The ‘red lion’ for example, is both emblematic of royalty and the elite bloodlines connected to the stars. Blood sports are also part of the same symbolism, and ‘fox hunting’ is the classic Orion-Saturn Cult ritual in my view. The red blood-jacketed hunters with their canine helpers (Canis Minor/Sirius), is a stellar ritual caught up in the sym- bolism of the elite, the aristocracy (blue bloods) and has nothing to do with preservation. When a fox is caught and killed by packs of dogs, it is said to be traditional to smear any new member of the riders with the blood of the fox, a barbaric custom but nonetheless, all part of the ritual. Hunters are also said to toast with red wine (blood) at the start of the hunt, another symbol connected to ancient rites of the Greco-Roman deity, Dionysus and sacrifice.

Red carpets, Hollywood, and the ‘royal treatment’ of celebrities (stars) are all part of this symbolism or ‘blueprint’. The use of red and blue as part of the Orion-Saturn Cult, (mentioned throughout my book, Orion's Door), and how ‘ritual magic’ plays a huge role in the media, politics and military-industrial complex. Blue of course relates to ‘authority’, ‘balance’, ‘change’ and can be expressed through all forms of water and air symbolism. The use of the word ‘Change’ over the past decade, in democratic and conservative politics in the UK and USA, is just one example of the use of blue/red symbolism (see below). Both colours are used so, so many times to give the effect of ‘opposing’ choices, as seen through political parties (red Labour (Republican), blue conservatives (Democrats), etc. The colours dominate the logos of the two major Universities in the US, Yale (blue) and Harvard (red) and endless other media and movies.

The red and blue spectrum, or the ‘projection of duality’ (as seen in Orion’s opposing stars), represent opposing forces above and below. Our ‘manufactured’ division of ‘governance’, ‘opposition parties (the political spectrum), and how we polarise our world in every way is part of a greater celestial blueprint possibly focused on Orion.

Political logos, flags and insignia often combine both primary colours for full effect when offering up political choice to the masses. In truth, the choice is part of the illusion, the ‘projection of duality’ and manufactured division across the world today. When in truth we are neither one side, or the other, we are 'each other - we are all one.

Within the movie called life, opposing sides are being used today, to fuel 'division', bring about reactions and focus the public perception on polarity and division. Agents of chaos (on both sides of the spectrum) are 'fanning the flames' of unrest. Organised mass migration = manufacured civil unrest; and with it, more draconian changes to civil liberties.

Some of which we have seen in recent years, not least the desire to enforce a Digital ID on citizens 'globally'.

NOTES:

1) Annotated Myths & legends, p 86