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When I studied the Egyptian mystical traditions, I learned that all the
ancient Egyptian art was controlled by the temples. Only if you belonged
to a temple could you paint, sculpt, write hieroglyphics, design
buildings. The Egyptian system of art, writing, and architecture didn’t
change for thousands of years. The tradition was maintained, controlled,
and taught within the religious system of the temples. The artists were
priests and priestesses who had received rigorous, systematic training
within a system of graduated stages of both practical and spiritual
skills.
In the beginning, students were taught the basic eye/hand control,
coordination, and techniques of drawing. They were taught the meaning of
the various geometrical forms and symbols, and the effect of those forms
on nature. They were taught never to change the exact angles and
proportions of the figures and forms. The further they progressed in
their training, the more information they received about the techniques
and theory of this art. They weren’t allowed to change anything;
everything had a prescription. Thus the Egyptian knowledge of sacred
geometry was kept intact generation after generation, for thousands of
years — intact and unchanged.
The Egyptian system of training was structured within a series of
initiations. New initiates would enter the temple through what they
called the “Outer Door.” This would be the first stage of initiation,
where they would be making their first vows and starting their new life
in the temple. A door would open in the presence of the gathered
initiates and within would be a statue of a deity. It would be in an
exact pose, its form having an exact geometry which would create an
energy field. As the initiates were exposed to that field, the energies
would enter their auras, shifting their whole being in such a way that
they would never be quite the same as they had been before. It is said
the field created by the geometry would literally change them – rip off
their old masks, alter the physical body to heal it, alter the mental
and spiritual bodies in such a way that they had more capacity to
understand and learn and grow. It gave them a big boost on their path.
After they studied the concepts relating to this first level of
initiation and mastered them, they would proceed to the next level of
initiation. They would be exposed to another door, another piece of art
which would influence them in preparation for the next level of study.
Through the centuries we’ve lost this knowledge of the symbology and
vibrational qualities of geometric forms. But our ancestors did what
they could to ensure that it would not be completely lost. They imbedded
these types of symbols and forms in our writing systems, in decorative
elements found on walls, pottery, and textiles, so it would never be
completely lost and forgotten. It was disguised as decoration, but it
held enormous power.
The ancient mystery teachings of the temples of Isis and Osiris have
been preserved, at least in part, by the Berber tribes of Africa, which
have carried the knowledge as a secret verbal tradition to this day. At
the beginning of the 20th century the Berber carriers decided it was
time to expand the lineage outside the tribe and searched in their
customary way to find the “right” individual. They found him in the
person of Count Von Losco of Transylvania. He was participating in an
archeological dig in Egypt when the Berbers walked out of the desert and
approached him, in English. He studied with them in secret for many
years. When it was time to search for his own successor, he followed the
Berber traditions and chose his niece, the Countess Olga Von Losco.
During World War II she escaped to the United States, where she found
her successor in the woman who then became my teacher. |
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