contemplativeinquiry

This blog is about contemplative inquiry

Tag: Energy body

DANCING SEAHORSES II

I have already written about the Dancing Seahorses image (1) found on a Pictish stone from Aberlemno in the Scottish county of Angus. After seeing the stone on a visit there, in 1992, I bought Marianne Lines’ painting. I have felt strongly involved with this image ever since. I think of it as a friend and guide. In a sense, this post is about the modern use of archaic images by people, like Druids, who are drawn to them.

I do not know the intentions of the original carver. beyond celebrating beings who are half of this world, half of the otherworld, and who embody powerful water energies for Celtic peoples on the Atlantic coasts of Britain, Ireland and Brittany in ancient times. They are remembered in folklore to this day. I do know that the carving made a strong impression on me, when I first saw it on the stone itself. It stayed in my imagination, and over time has deepened and grown new meanings.

Four years after acquiring the painting, I had the image tattooed on each arm. By that time I knew of the way in which it had influenced the cover design for R. J. Stewart’s The Prophetic Vision of Merlin (2). This variant form was used to refer to the story of the young Merlin at Vortigern’s subsidence prone tower in Snowdonia, prophesying his way out of becoming a human sacrifice, and identifying two contending dragons under the foundations. In the book illustration, there is a yin-yang reference, with a suggestions of interdependent primal forces, each of which already contains the seed of the other, seeking balance and alignment. In the Western Mysteries quest for healing and transfiguration, the energy bodies of the land and of humans are deeply interwoven.

There is another, more recent level of understanding, that I derive from the painting and tattoos, but not evident in The Prophetic Vision of Merlin. I see both the dancing seahorses and a second image, behind and containing the immediately apparent one. As I wrote before, “the space where the horses legs are raised defines a shape, suggesting a head. The very emptiness there is a paradoxical mark of presence. To me it became the head of a goddess, with the seahorses then becoming her body. Still clearly appearing as a water being, her arms – if they are arms – are raised in blessing”. I would now add that in this way, she demonstrates the dance of emptiness and form. They are balanced. Neither is privileged over the other. The Celtic knot points both to interconnection and infinity.

I identified the Goddess whilst gazing directly at the original Dancing Seahorses picture, which hangs of a wall directly above my altar. However I believe I received a subconscious nudge from the High Priestess card in The Druidcraft Tarot (3). She wears the image herself. Her hands are raised. She stands as the Goddess. In the Druidcraft narrative, she “represents the magical power of stillness and depth”. For me, the Goddess in Dancing Seahorses represents the ultimate union of emptiness and form, and the rebirth of the cosmos in each moment. Her representation combines the aware potential of the void and a primal aquatic generativity that can inhabit other elements. The Druidcraft priestess is human, but one who wears an image that bespeaks the divine to me, and her role asks for “stillness and depth”.

In my work, the entry into stillness and depth is, firstly, to enter into I-Thou communion with the primal Goddess (Modron) and then to recognise my own true nature, as (mythically) her divine child (Mabon) – sensitive and busted open to the world. This recognition becomes a prayer of gratitude and a surrender of my passing private concerns to Who I really am.

Words and pictures are not enough, but, cherished and contemplated lovingly over time, together they can point the way..

(1) https://contemplativeinquiry.blog/2020/06/25/dancing-seahorses/

(2) R. J. Stewart The Prophetic Vision of Merlin London & New York: Arkana, 1986

(3) Philip & Stephanie Carr-Gomm The Druidcraft Tarot: Use the Magic of Wicca and Druidry to Guide Your Life London: Connections, 2004 (Illustrated by Will Worthington)

MEDITATION: ENERGY BODY

This meditation is the last of three formal meditations for regular use in my current Druid practice. It draws on a variety of sources – Druid, Gnostic, Tantric – and accumulated personal experience. I use the term ‘energy’, where others might prefer ‘light’. This is to signal the importance of embodied, felt experience in this work.

I find Energy Body a valuable complement to my Living Presence and Wisdom’s House meditations. The image is from R. J. Stewart’s The Dreampower Tarot. (1)

I sit on a chair, feet on the ground and hands on knees. This meditation has a Kabbalistic Tree of Life frame of reference, and I begin with a short form of crossing practice, using my right hand for the movements. I say,  In the name of Wisdom (hand upwards to top of forehead), Love (hand downwards towards genitals), Justice (to right shoulder), Mercy (across to left shoulder) and Oneness (both hands over heart centre) Awen (chanted as aah-wen). (2)

Closing my eyes, I attend briefly to my body and senses, relaxing into being on the chair. When ready, I send my attention down below my feet, as if dousing for the energies of the deep earth and underworld. I rely primarily on the kinaesthetic sense – warmth, sensations, the pulse and vibration beneath me. Visual images may appear, but this journey is guided by feel.

The earth energy immediately beneath me is strong and relatively quiet, though I do sense the power of familiar organic life at this level. Deeper down, I get a cooler mineral sense. Deeper still, I connect with the heat and highly pressured turmoil of the underworld, as I get closer to the planetary core.

Directing my attention with the breath, I pull up energy from these realms, starting at the fiery volcanic level, and adding elements of the softer, cooler earth energy as I move up. I pull these energies up through my body and a field extending a little beyond it. I notice an energetic mobilisation – heat, tingling, a feeling-tone of energetic arousal, noting specific sensations in different parts of the body. I use the inbreath to raise this energy and the outbreath to distribute it. Eventually, fully enveloped in this active chthonic energy, I allow myself to bathe in it.

When the time is right, I direct my attention upwards. I sense the sky and the celestial realms beyond – the moon, sun and stars – now seeing both day and night skies from my perspective and bringing my visual sense into more prominence overall. I connect with these energies too, sensing and visualising the powers of a universe in motion at the macrocosmic level.

I draw energy into my field of awareness and intention, bringing it in a focused way, laser-like, somewhat in the manner of a lightning flash, down to the crown of my head. From there it zig-zags successively to my left temple, right temple, throat, left shoulder, right shoulder, heart centre, left hip, right hip, genital area, and feet. Here, I visualise a white lightning effect and feel the ignition of these 11 points, the sephira of the Kabbalistic tree of life.

I now sense a merging of the chthonic and celestial energies, and the rejuvenating power and vitality that this brings. When ready, I direct my energy with the breath up the back and down the front of my central channel, behind and then in front of the 5 energy centres found there: feet, genital area, heart centre, throat, crown. This becomes a circuit descending down the front of my body on the exhale and rising up the back of my body on the inhale.

Once this circuit is stabilised, I develop a second one rising up the right side on the inhale and descending down the left side on the exhale, moving past 8 centres: feet, right hip, right shoulder, right temple, crown, left temple, left shoulder, left hip, and feet again. I keep the two circulations going and use them to scan my wellbeing at the energetic level. At this point I might work with individual sephira and their relationships with each other, but such work is not typical within this generic meditation. Commonly, I simply acknowledge them.

For the next stage, I begin to see, as if from outside, a translucent egg-shaped light energy containing me, with its circuits and currents moving of their own volition. Falling back into place, I feel the benefits of being held within this field of light energy, expanding into it and entering a richer identity. Preferably, the field is porous and open to energy exchange with the world beyond. (If necessary, the eggshell can be made solid and impermeable, an adamantine shield). I stay in the experience for as long as feels right, allowing myself to be recharged and rejuvenated.

Finally I allow the porous egg shape to thin and become insubstantial. Boundaries dissolve. Experience can be imaged as an awareness of tiny sparks winking in and out of existence in a vast indigo field. It is a place of freedom and possibility at the threshold of being and unbeing. There is awareness without boundaries, and no localised sense of body. Sensations and perceptions rise and fall.

When the time is right, I return to my normal physical bandwidth and the journey is over. I enter a period of quiet contemplation.

After the meditation, standing in the centre of the circle, I say I give thanks for this meditation. May it nourish and illuminate my life. In the name of Wisdom, Love, Justice, Mercy and Oneness. Awen.

(1) R. J. Stewart The Dreampower Tarot: The Three Realms of Transformation in the Underworld London: The Aquarian Press, 1993 Illustrated by Stewart Littlejohn

(2) R. J. Stewart The Miracle Tree: demystifying the Qabalah Franklin Lakes, NJ: New Page Books, 2003

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