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Boho Queen Mandala Teachings 

This teaching is designed with your spiritual growth in mind. You have been been provided with links and resources to follow up in whatever way feels right for you. It may be a blog, book, an article, a video or an exercise that you feel drawn do or share to that will take these teachings one step further, then see where you go from there! 


Follow your highest excitement!

I began painting Boho Queen on 4th September 2017. I have explored the numerology of this date and it is a number 4 which couldn't have been more perfectly orchestrated. A nice balancing and stabilizing energy. The Pythagoreans believed the number four, the Tetrad, was a perfect number.

Number 4 represents your passion and drive and encourages you to work harmoniously yet diligently to achieve your goals and aspirations.


Number 4 is the number that represents the four elements of Air, Fire, Water and Earth, and the four sacred directions, North, South, East and West.


Number 4 connects your mind, body and spirit to the physical world. It symbolizes safety and home security, a strong foundation built on values and beliefs.


The spiritual nature of number 4 calls in the need for having a sacred space and sanctuary in your home, a place to meditate and build on your inner most foundation of strength and being.


I now wish to speak about the colours of your painting because these bring in very specific healing frequencies.


Ochre: Earths Colour.


“Primal, earthy, eternal. Ochre. Its intense and powerful color conjures these visceral sensations. Artistic expressions, adornment for beauty, medicine for healing, the colors of cities.
Ochre. This natural pigment of the earth has permeated human civilizations since prehistoric times. Yellow, red, purple, brown, sienna, umber. Ochre. Its multiple gradations affirm nature's capacity to create harmony’’. -   https://www.moowon.com/stories/ochre-earth-s-color


Teal: Tranquility.


“Teal is said to open lines of communication between one’s heart and the spoken work, controlling and healing the emotions creating balance and stability within the emotions.  It presents as a very friendly and happy color helping one to experience joy in life”. - http://www.shimmerlings.com/mystical/color/teal/


Chocolate: Roots.


“Brown is a Masculine Color and combines elements of Yellow, Red, Green, Blue. Brown is not an Earth Color, but an Air/Fire- thoughts that create- with the South-East as it's direction. Brown moves in the intellectual body, the reasoning, the memory both of this lifetime and others and is deeply connected to home. It is excellent for students, teachers and historians and can be inviting, comforting, stabilizing and secure. Brown wants peace. It is the best color when you need to think things through or re-connect to your roots”. - http://www.old-earth.com/color-meanings.html#anchor-brown



Ivory: Elegance.


“A similar color to beige is ivory, a neutral, relaxing, and calming color, has some of the same pureness and softness of the color white, but with a warmer tone. Ivory represents quiet and pleasantness. The color ivory sets relaxed tone of understated elegance’’. - https://www.bourncreative.com/meaning-of-the-color-beige/


Copper: Connections.


I used copper leaf paint which contains actual copper to give the amazing metallic sheene.


Copper is a conductor of energy. It helps communication and connection. It is connected to earth energies and is very grounding. It really helps with clearing less-than-love electromagnetic energies or for healing  around electronics.


“Copper provides a harmonic connection between the physical and astral bodies and aligns the subtle bodies. It has been used successfully to amplify and to transmit thought. It is said to be a "bestower" of "good", bringing benefit to the user. It is also reported to bring "luck" to persons, especially in the recovery of property.

Copper can conduct electrical impulses and magnify the energy transfer, from the healer or from minerals, to the subject of the healing.

Copper can combat lethargy, passivity, restlessness, excitability, and non-acceptance of oneself. It stimulates initiative, optimism, diplomacy, and independence.

Copper activates and opens the base and sacral chakras, advancing and stabilising the energies of intuition, sexuality, desire, and vitality - directing these energies toward the pursuit of one's path of evolution. It allows one to recognise the barriers which are in the path of one's development.


Copper can be used to stabilise and to balance the flow of blood within the body; helping to increase circulatory functions when necessary. It can be used to cleanse wounds and to fight bacterial infection. It is also useful in the treatment of arthritis, bursitis, and rheumatism, and to stimulate the metabolic processes’’. - https://www.charmsoflight.com/copper-healing-properties.html


Gold: Enlightenment.


I have used 24 carat Gold Leaf Paint. There is real gold in there, that is why it has such beautiful luminance to it! This leafing paint gives a really rich metallic luster as beautiful as precious metal itself.


“The Effects of Gold

Enlightenment: gold, at its highest level, inspires knowledge, spirituality and a deep understanding of the self and the soul.


Compassion: caring, loving, generous and giving, gold is the benefactor or patron.

Generosity: gold loves to share its wisdom, knowledge and wealth with others’’. - http://www.empower-yourself-with-color-psychology.com/color-gold.html


“Gold symbolises the purity of the spiritual aspect of "All That Is". It is symbolic of spirituality and development in the realm of complete understanding, allowing one to both attain and maintain communion with the source of all being.

Gold has been called "the master healer". It is an excellent mineral for purification of the physical body.
Gold helps one to improve one's character via learning, lessening the trauma associated with situations experienced during the gain of knowledge. It assists one to activate, to mobilise, and to actualise the intrinsic potential of the self.

The energy of gold can be used to balance the energy fields and to assist one in the elimination of ego conflicts and feelings of futility. It can also help to assuage the overburden of responsibility, to combat feelings of depression and inferiority, to allow one to both understand and to dispense with self-reproach, and to cal excitation and states of anger.


Gold has been used in the development, purification, and balancing of the heart chakra and for the amplification of thought-forms. The purity of gold is said to help one to preserve higher thought forms for later retrieval.

Gold has also been used to open and to activate the third-eye and crown chakras. It has been said to attract honours, wealth, and happiness; to provide composure, to stabilise the emotional system, to alleviate tension and stress, and to amplify positive feelings. It also assists one in attuning to nature and its healing forces.

It can clear negativity from the chakras and the energy fields of the physical, emotional, intellectual, and spiritual bodies, while transferring the vitality of any companion mineral to the affected area. Gold produces an energy which is both cooperative and receptive, allowing for extensive use with other colours; it is capable of attracting and maintaining those qualities which are inherent within the additional colours. When in proximity to another colour, gold provides a stabilising influence to the energies of that colour.

Gold has been used to enhance mental faculties, to rebuild the nervous system (eg, in the treatment of multiple sclerosis), to improve digestion, circulation and breathing, and to increase warmth. It can also be used for the treatment of arthritis, skin cancer, blood disorders, pneumonia, vascular diseases, heart disease, eye problems, paralysis, rheumatism, skin disorders, tuberculosis, nightmares, and spinal problems.

Gold assists in the rejuvenation of the endocrine system, in the absorption of vitamins and minerals, and in the regeneration of tissue and the skeletal structure. It balances the right and left brain, and treats conditions associated with autism, dyslexia, epilepsy, and physical coordination’’. - http://www.charmsoflight.com/gold-healing-properties.html


When I began this painting I was living somewhere else, going through a tough time, on the brink of losing my home and one of the of the very first messages this painting began to share with me was ‘’BLOOM WHERE YOU ARE PLANTED’’. This began to make me think about how The Creator has placed us in the circumstances that we are in for a reason, and that we can choose to make the best of the situation we are in.


It’s so easy for to think that we need all the perfect conditions in order to thrive. I have often told myself that if one aspect of my life were improved, then I would excel, be content, or achieve everything that I wanted to.

But the truth is, conditions are rarely perfect. Our lives are filled with difficult compromises and attachments that keep us from that pure sense of “freedom”– an elusive concept that, at least for me, really means a universe at which I am at the centre.


The fact is, however, that we are planted in our circumstances without having to be enslaved to them. While circumstances can change, we are placed in our current location, given our current means, and we must thrive in that. We can choose to thrive in that. Our circumstances may dictate certain aspects of our daily lives, but they definitely do not dictate all aspects.


This is so empowering! The choice to thrive, no matter what. To look at every situation and ask myself, how can I improve this? How can I make it better?


In the past I have worked through letting go of material things but a home, somewhere stable became important to me. Maybe too important? I began to realize that I AM the home. Wherever I go, I put my things out and it always feels great. No matter where I am. Even if it’s a tent, I’ll bet I can make it the best darn tent in town! Lol.


I began to receive visions of what a bohemian lifestyle would be like. It’s not just fashionable boho clothes or jewelry it is a way of life. A mindset, a way of Being.


“A festival girl wearing a flower crown and a brown boho bag may seem as a Bohemian nowadays, but if she is living a conventional life then she may not be as she dresses to be. It takes more than a caftan and a fringe handbag to crown one as a true Bohemian. Eccentric attitudes, beliefs, and actions that don’t conform to society are established early on’’. - https://bohobags.com/blogs/news/113794949-what-does-it-mean-to-live-a-bohemian-lifestyle


‘’Bohemianism is the practice of an unconventional lifestyle, often in the company of like-minded people and with few permanent ties. It involves musical, artistic, literary or spiritual pursuits. In this context, Bohemians may or may not be wanderers, adventurers, or vagabonds.

This use of the word bohemian first appeared in the English language in the nineteenth century to describe the non-traditional lifestyles of marginalized and impoverished artists, writers, journalists, musicians, and actors in major European cities.[1]

Bohemians were associated with unorthodox or anti-establishment political or social viewpoints, which often were expressed through free love, frugality, and—in some cases—voluntary poverty. A more economically privileged, wealthy, or even aristocratic bohemian circle is sometimes referred to as haute bohème[2] (literally "high Bohemia").[3]

The term Bohemianism emerged in France in the early nineteenth century when artists and creators began to concentrate in the lower-rent, lower class, Romani neighborhoods. Bohémien was a common term for the Romani people of France, who were mistakenly thought to have reached France in the 15th century via Bohemia (the western part of modern Czech Republic),[4] at that time a largely proto-Protestant country and considered heretical by many Roman Catholics’’. - https://en.wikipedia.org/wiki/Bohemianism


“Many prominent European and American figures of the last 150 years belonged to the bohemian subculture, and any comprehensive “list of bohemians” would be tediously long. Bohemianism has been approved of by some bourgeois writers such as Honoré de Balzac, but most conservative cultural critics do not condone bohemian lifestyles.


In the United States, the bohemian impulse can be seen in the 1960s hippie counterculture (which was in turn informed by the Beat generation via writers such as William S. Burroughs, Allen Ginsberg, and Jack Kerouac).


Rainbow Gatherings may be seen as another contemporary worldwide expression of the bohemian impulse.[20] An American example is Burning Man, an annual participatory arts festival held in the Nevada desert”. - http://subcultureslist.com/bohemianism/


“A lady named Ada Clare, known to New York as the Queen of Bohemia! She had stated in 1860: "The Bohemian is by nature, if not by habit, a cosmopolite, with a general sympathy for the fine arts, and for all things above and beyond convention. The Bohemian is not, like the creature of society, a victim of rules and customs; he steps over them with an easy, graceful, joyous unconsciousness, guided by the principles of good taste and feeling. Above all others, essentially, the Bohemian must not be narrow minded; if he be, he is degraded back to the position of near worlding." - from The Improper Bohemians, Churchill, Allen. New York: E.P. Dutton and Co., 1959, p. 25’’. - http://www.bohemianlit.com/what_is.htm


I believe Ada Clares energy is working with us through this painting. She was born in 1836, in Charleston, South Carolina! I did not know who she was until I began researching the painting.


“She had money and aspired for 'fame' only" (Gunn vol. 11, 160). She received a small inheritance upon her parents' deaths, which she used to travel to Paris. In the city of lights, she spent time with pianist and composer Louis Moreau Gottschalk, who may have been the father of her son Aubrey. Clare arrived in New York in 1858 and scandalized the populace as an unwed mother preaching the doctrine of free love and introducing herself and Aubrey as "Miss Ada Clare and Son" (Lalor, "Whitman" 136).


As Emily Hahn notes, "she refused to be ruined" and participated fully in the literary life of the city by frequenting Pfaff's where she organized literary contests, took it upon herself to remember members' birthdays, and collected funds for community celebrations (3). William Dean Howells remembers her as "a young girl of a sprightly gift in letters, whose name or pseudonym had made itself pretty well known at that day" ("First Impressions" 64). To Walt Whitman, Clare "represented the ideal of the modern woman: talented, intelligent, and emancipated" (Lalor 136). In Whitman's "Street Yarn" he describes her as "A lady -- slender and elegant -- in black from head to foot; pure white complexion, pale, striking chiseled features, perfect profile, abundant fair hair; abstracted look, and rather rapid, purposeful step...a perfect beauty; questionless, of decided talent;...a persevering and energetic votary of the mimetic art. Possessed of some wealth, great personal attractions, no inconsiderable share of intellect and cultivation,..." (qtd. in Lalor 136).

Clare was a central part of the Bohemian lifestyle in New York. A group of Bohemians, the West 42nd Street Coterie, often gathered at her home. Clare, the "queen" of the Bohemian circle at Pfaff's, provided a congenial atmosphere for the Pfaffians during her Sunday night receptions. Gunn notes that Clare was one of the most prominent women of Pfaff's circle saying "She [Clare], 'Getty Gay' and other Unfortunate Literary Females go down to Pfaffs with the men, sitting at the sacred round table, in the cellar &c. 'Ada Clare' sticks out everywhere in the columns of the 'Saturday Press'; she writes articles and the others praise them" (Gunn, vol. 12, 18-19). Clare's weekly column in Henry Clapp's Saturday Press was called "Thoughts and Things," in which she discussed a range of topics, from women's rights to the status of the American theater. Clare employed the pseudonym "Alastor." Another contemporary of hers, A. L. Rawson recognized the pivotal role she played in maintaining the Bohemian society during this time: "Ada Clare was magnetic in addition to her mental brightness and store of maternal treasures inherited from her family, and with her wealth and beauty she attracted the higher grades of men and women" (Rawson 103). According to scholar, Justin Martin, "at Pfaff's, Clare brought a needed touch of refinement ot the proceedings...Clare acted as a kind of counterweight to Clapp's 'evil influences'" (66). Martin further argues that Clapp took a romantic interest in Clare, but that "she did not, however, return the sentiment" (68). In addition to the Press, she also published in Atlas and, during her time in San Francisco, she contributed to The Golden Era, a weekly edited by Bret Harte’’. - https://pfaffs.web.lehigh.edu/node/54133


“By her teen years, she considered herself a "spirituelle,” a term often used (before the advent of Bohemian) to describe a woman who led a free and easy life in pursuit of art. Already, she longed to escape a future that threatened to be, as she put it, “a series of little acts, a dead level of vapid monotony.”” -Justin Martin, from Rebel Souls: Walt Whitman and America’s First Bohemians

Ada Clare, Queen of Bohemia by Charles Warren Stoddard (1905) - http://www.gottschalk.fr/Bibliographie/References/ADA%20CLARE%20queen%20of%20bohemia.pdf

“She once described herself as having "a frankness of speech and manners with men, a talent to dress becomingly, a good appetite, a cheerful expression, an acquaintance with rouge, an aversion to lying, and the ability to think for myself!”“ -Justin Martin, from Rebel Souls

free ebook version of Only A Woman’s Heart, Ada’s only published novel -  https://play.google.com/books/reader?id=5GdVAAAAYAAJ&printsec=frontcover&output=reader&hl=en&pg=GBS.PA3


To continue with the ‘boho’ theme, I wanted to make this painting like a traditional boho tapestry. I wanted it to be rich and for every square to be completely different from the next, although working with the same colours.


For me, 8 squares represent 8 countries. This painting brings all cultures together and celebrates the differences and traditions of eachother.


Where this painting is placed will be a gathering space for boho souls to thrive.


“We are the Drifters and Dancers, Sun Worshippers and Risk Takers. The Dreamers, The Lovers, Believers and Change Makers.” ― Frankie Kerr-Dineen


Starting from the top left of the painting is: the first square Thailand, next along Peru, Africa and ending the top right with India.


Then, the bottom row starting from the left is: Australia, France, Egypt and ending with China.


“They were all brilliant. They wrote books and painted pictures, and if they ever stopped talking, which I was sure they would never do, they planned to change the world.” ― Gloria Whelan, Listening for Lions


“Bohemia meant any place where one could live and work cheaply, and behave unconventionally; a community of free souls beyond the pale of respectable society. Several cities and neighborhoods came to be associated with bohemianism in the nineteenth and early twentieth centuries: In Europe: Montmartre and Montparnasse in Paris; Chelsea, Fitzrovia, and Soho in London; Schwabing in Munich; Skadarlija in Belgrade; Tabán in Budapest. In the United States: Greenwich Village in New York City; Venice Beach, California; Topanga, California; and Tiburon, California. In Australia: Newtown and Potts Point, Sydney and Fitzroy in Melbourne’’. - http://subcultureslist.com/bohemianism/


“Comfort and security are all well and good, but not at the cost of liberty, love and lustiness. The Bohemian knows that money, property and status have little to do with the content of one’s character, and that professional success and widespread celebration have little to do with talent. Of value to the Bohemian is spiritual integrity and creative freedom. The Bohemian would sooner live in poverty than submit to an undesirable job.” ― Robert Wringham, Escape Everything!: Escape From Work. Escape From Consumerism. Escape From Despair.


The only symbol I used in this painting was the fleur de lis. At first, I thought it was your connection to France, which it is but it goes MUCH deeper. I feel like if your soul had a symbol this would be it! Its origins describe so much of what I feel in your past lives.


Fleur-de-lis, ( French: “lily flower”) is an ancient symbol that has long been associated with French royalty. Depicting a stylized lily or lotus flower we encounter the emblem as in many places across the world. The symbol has been regarded as a sign of purity ever since antiquity.


The Bee and the 'Fleur-de-lis':


The honey bee may have become stylized in the Fleur de Lis by french court in the 1100’s. The hexagonal honeycomb geometrically perfect, magical in its use for building, and industry.

The fleur de lys also represents the Tree of Life which also descends to the netherworld (hell). Notice in Coleridge's poem that the volcano-daimon Typhoeus is ejaculating all over the sky. The fleur de lys is frequently found in ancient Egyptian artifacts. In this next excerpt from Ancient Egyptians and the Constellations can be seen a connection between Osiris—who is identified with the Kabalistic Tree of Life—and the Plantard bloodline.

"In ancient Egyptian texts...The Tree of Life grew out of the Sacred Mound, it's branches reaching out and supporting the star and planet studded sky, while it's roots reached down into the watery abyss of the Netherworld. The trunk of the Tree of Life represented the World Pillar or Axis Munde (literally 'Axis of the Mound') around which the heavens appeared to revolve. The World Pillar was the centre of the universe.

"The Ancient Egyptian symbol for 'plant' meaning 'Tree of Life' was three sacred lotus lilies. They have tree stems curving to the left as though blown into Life by the breath of Hu, the Celestial Sphinx. On top of each stem is the Lotus flower which was used in Ancient Egypt to represent Life and Resurrection. It is from this hieroglyph that the 'fleur de lis' which is frequently found in Ancient Egyptian Art traces its origin. The fleur de lis' represents the Tree of Life. The glyph which denotes the sacred knowledge associated with Hu is also formed by the three stems of the three sacred lotus lilies...

"Osiris, in his earliest Axis Munde form of a tamarisk tree trunk, was called Djed. His later mummy wrappings were symbolic of his having been encased inside a tree trunk. His mummy was therefore an Axis Munde... When Osiris was enclosed in the trunk of a tamarisk tree, which was later cut down and used as a pillar in the palace of the King of Byblos, he metaphorically became as one with the Tree of Life. Osiris became the Axis Munde around which the heavens appear to revolve; he became the World Pillar, the link between the terrestrial and celestial worlds. He held the heavens in his outstretched arms, and he soaked up the word of God from the waters of the Netherworld. In Ancient Egypt the Netherworld was called the 'Netterworld' meaning the 'World of the gods'. The gods had their home among the stars." - http://watch.pair.com/plantard-crest.html

The fleur-de-lis is modeled after the lotus in Egypt that was associated with the psychotropic Nile Lily. The Nile is where this same brotherhood had originated. Therefore it is only fitting that they would choose an ancient Egyptian symbol for “plant” meaning “Tree of Life” that was three sacred lotus lilies as their symbol. It is the fleur-de-lis that has now replaced he Lily as a symbol of royalty of this same said Brotherhood. You will find this symbol throughout history as an ornament on the crowns, scepters, thrones, seals, coins, etc. of not only French Kings, but also on Greek, Roman, German, English, Spanish, Egyptian, Syrian and Babylonian Kings...

The most probable explanation of the origin of the fleur-de-lis as a device of the Kings of France is that put forth by M. Rey, which has received the approval of Mr Planche, "that the fleur de lys, or flower de luce was merely a rebus signifying fleur de Louis." Up to the time of Louis VII the kings of that name (identical with Clovis) called themselves, and signed themselves, Loi"s or Loys. Even after the name had settled into its present form, Loys was still the signature of the kings of France up to the time of Louis XIII (1610-43). Loys, or Louis VII received from his father the surname Florus. http://herebedragons.weebly.com/fleur-de-lis.html


Rosicrucians: Their Rites and Mysteries...We now propose to deduce a very original and a very elaborate genealogy, or descent, of the famous arms of France, the Fleurs-de-Lis, 'Lucifera', Lisses, Luces, 'Lucies', Bees, Scarabs, Scara-bees, or Imperial 'Bees' of Charlemagne, and of Napoleon the First and Napoleon the Third, from a very extraordinary and (we will, in the fullest assurance, add) the most unexpected point of view. The real beginning of these inexpressibly sublime arms (or this 'badge'), although in itself, and apart from its purpose, it is the most refined, but mysteriously grand, in the world, contradictory as it may seem, is also the most ignoble. It has been the crux of the antiquaries and of the heralds for centuries! We would rather be excused the mentioning of the peculiar item which has thus been held up to the highest honour (heraldically) throughout the world. It will be sufficient to say that mystically, in its theological Gnostic allusion, it is the grandest device and most stupendous hint that armory ever saw; and those who are qualified to apprehend our hidden meaning will perhaps read correctly and perceive our end by the time that they have terminated this strange section of our history of Rosicrucianism--for to it it refers particularly.

The 'Lilies' are said not to have appeared in the French arms until the time of Philip Augustus. See Montfauçon's Monumens de la Monarchie Française, Paris, 1729. Also Jean-Jacques Chifflet, Anastasis de Childeric, 1655. See also Notes and Queries, 1856, London, 2d Series, for some learned papers on the 'Fleur-de-lis'. In the early armorial bearings of the Frankish kings, the 'lilies' are represented as 'insects', seméed (seeded), or spotted, on the blue field. These are, in their origin, the scarabæi of the Orientals; they were dignified by the Egyptians as the emblems of the 'Enlightened'. If the reader examines carefully the sculpture in the British Museum representing the Mithraic Sacrifice of the Bull, with its mystic accompaniments (No. 14, Grand Central Saloon), he will perceive the scarabæus, or crab, playing a peculiar part in the particulars of the grand rite so strangely typified, and also so remotely. The motto placed under the 'lilies', which are the arms of France, runs as follows: 'Lilia non laborant, neque nent'. This is also (as all know) the legend, or motto, accompanying the royal order of knighthood denominated that of the 'Saint-Esprit' in France...

The Fleur-de-lis is the Lotus (water-rose), the flower sacred to the Lux, or the Sul, or the Sun. The 'Auriflamme' (the flame of fire, or fire of gold) was the earliest standard of France. It was afterwards called Oriflamme. It was the sacred flag of France, and its colour was red--the heraldic, or 'Rosicrucian red, signifying gold. The three 'Lotuses', or 'Lisses', were the coat of arms--emblems of the Trimurti [http://en.wikipedia.org/wiki/Trimurti], the three persons of the triple generative power, or of the Sun, or 'Lux'. שלה, sle, 'Shilo', is probably שיל, sil =360, or χ = 600, λ = 50 = 10, ו = 6 = 666. This is Silo, or Selo. 'I have no doubt it was the invocation in the Psalms called "Selah", שלה(ס)'. http://www.sacred-texts.com/sro/rrm/rrm12.htm


Here is a loose translation from translation Michel Pastoureau: Traité d'Héraldique, Paris, 1979.

"The use for ornamental or symbolic purposes of the stylised flower usually called fleur de lis is common to all eras and all civilisations. It is an essentially graphic theme found on Mesopotamian cylinders, Egyptian bas-reliefs, Mycenean potteries, Sassanid textiles, Gaulish coins, Mameluk coins, Indonesian clothes, Japanese emblems and Dogon totems. The many writers who have discussed the topic agree that it has little to do graphically with the lily, but disagree on whether it derives from the iris, the broom, the lotus or the furze, or whether it represents a trident, an arrowhead, a double axe, or even a dove or a pigeon. It is in our opinion a problem of little importance. The essential point is that it is a very stylised figure, probably a flower, that has been used as an ornament or an emblem by almost all civilisations of the old and new worlds.

The oldest known examples of fleur-de-lis similar to those used in the Medieval Western world and in modern times can be found on assyrian bas-reliefs from the 3d millenium BC. It is found on tiaras, necklaces, scepters, and seems already to play the role of royal attribute. Those found a little later in Crete, India and Egypt probably have a similar meaning. In numismatics, we find the fleur-de-lis on a few Greek coins and on several Roman coins from the Republic (mark of monetary magistrates) or the Empire (attribute of Hope) and especially on Gaulish coins. [The book shows three coins: a Gaulish coin (1st c. AD), a Mameluk coin (1390) and a coin of Louis VI of France (1110-30), all displaying an unmistakable fleur-de-lis (at least the upper-half of one, and a sort of triangle in the lower-half).] Whereas, in Greek and Roman coins, it is a fleuron of variable shape, in the Celtic case it is a true heraldic fleur-de-lis as it reappears in the 13th c.

While retaining its value as royal attribute, the fleur-de-lis acquires in the high Middle Ages a strong Christic meaning, stemming from (among others) the famous verse of the Song of Solomon (2:1): "ego flos campi et lilium convallium" many times repeated and commented from Saint Jerome to Saint Bernard. Therefore it is not rare, until the end of the 12th c., to see Christ represented amidst more or less stylised lilies or fleurons, whose design could also recall the Trinity of the Chrismon (Christ's monogram). Then, slowly, on this Christic content is added a Marial symbolic, linked to the development of the Cult of Mary, and to which the next verse of the Song of Solomon is related (2:2): "sicut lilium inter spinas, sic amica mea inter filias" as well as many parts of the Scriptures and the Fathers of the Church, where the lily is presented as symbol of purity, virginity and chastity. In iconography, the lily becomes a favorite attribute of the Virgin Mary and will remain so until the 16th c.


The origin of fleur-de-lis adopted as heraldic emblems by the Kings of France is a problem that has elicited much discussion. From the middle of the 14th c, several works (mostly designed to legitimize the Valois claims on the throne, against Edward III of England), explain that the king of France "bears arms of three fleur-de-lis as sign of the blessed Trinity, sent by God through His angel to Clovis, first Christian king... telling him to erase the three crescents he bore on his arms and replace them with the fleur-de-lis." This legend reappears at the end of the 15th c, but this time the alleged arms born by Clovis before his baptism are not azure, three crescents or but azure, three toads or. Significantly, at the end of the Middle Ages, Clovis' paganism is not represented by a Muslim symbol (crescent) but a demonic one (toad). In any case, it is only in the 17th c that this legendary origin of the fleur-de-lys began to be subject to the criticism of scholars. The famous Scevole de Sainte-Marthe seems to be the first to assert that the fleur-de-lys appeared on the shield only under Philippe Auguste (1180-1223) or Louis VIII (1223-26). However, until the end of the 19th c writers continued to prefer the most fanciful opinions on the subject. Today, Sainte-Marthe's opinion cannot be denied anymore: it is known that there are no coats of arms before 1130-1140, and the king of France was no the first to adopt a coat. H. Pinoteau's work of the past 30 years have shed definitive light on the subject: although we have no iconographic testimony of the coat azure, semy of fleur-de-lys or by a king of France before Louis VIII (on a stained glass window in Chartres of 1230; Louis VIII did bear the coat before becoming king, on a seal of 1211), several chroniclers contemporary of Philippe Auguste report that he used a banner with these arms, and his seal shows that as early as 1180 he used a fleur-de-lys as emblem. [example of an official of the royal demesne bearing the coat on his 1207 seal, and a cousin of the king augmenting Courtenay with a shield of France Ancient on a 1210 seal. It may even have been adopted by Louis VII (1154-80).]

[The seals of Philip Augustus clearly have a single fleur-de-lys on the reverse as of 1180. Before that, from 1050 at least, the seals of French kings show them sitting, holding a sceptre in their left hand and what looks like a fleur-de-lis in their right hand. The head of the sceptre is a lozenge, but often the fleurons on the crown (3 of them) look like fleur-de-lys.]


It remains to know why the king of France adopted the fleur-de-lys as an emblem when all other sovereigns of Europe chose animals. The reason seems twofold: on the one hand this flower had always retained its role as attribute of sovereignty: it is in this capacity that it appears on several royal Carolingian and Ottonian attributes, on the scepter of Capetian kings since Robert (996-1031), on the reverse of Louis VI coins (early 12th c) and even on coins of Lothaire (954-986). On the other hand, the flower acquired a strong religious meaning, either Christic or Marial; it is probably under the influence of saint Bernard and Suger that Louis VII (who was with Saint Louis the most pious king of France) adopted this emblem which symbolized both the royal dignity and Christian piety of his person and his lineage. http://www.heraldica.org/topics/fdl.htm 


Fleur-de-Lis: also known as the Merovingian Lily, the three-pronged flower-head was as very sacred symbol, (of the goddess Juno - the Lilly Maid, mother of war god, Mars), used by the early Gauls and the powerful Salian Frankish dynasty that reigned across France from circa 481 to 751, and continued as the representation of France by the Normans. Used in many other European coats of arms during the Middle Ages, the Fleur-de-Lis also had martial as well as religious connotations. The Roman Catholic Church decreed that it should be the emblem of the Virgin Mary and therefore symbolic of the holy bloodline, or Sangraal, while the three petals of its flower are thought to represent not only the Holy Trinity, but also the Christian values of faith, wisdom and chastity. However, the Lilly’s meaning holds striking duality and affinity to Mars, as well as the values of war; Joan of Arc carried the Fleur-de-Lis on her flag as she rode with her French troops to victory in battle, while the military often interpret its shape into that of an ornate, upright spearhead – indicating power, fearsome force and brute strength. http://www.alchemygothic.com/index.php?option=com_content&view=article&id=260%3Afleur-de-lis&catid=48%3Aalchemy-encyclopedia

Genesis of the bee’s adoration in France


Our abridged history of bee adoration slowly moves into the realm of Rennes-Le-Château with Napoleon Bonaparte, the military and political leader of France who in the early nineteenth century revived his countries fascination with bees. The bee was a hugely important icon of Napoleon’s reign, and his obsession with its symbolism gave rise to his nickname; The Bee. Napoleon would have grown up with the symbolism of the bee ingrained in his psyche, for his homeland of Corsica was required to pay the Romans an annual tax equivalent of £200,000 in beeswax. The young emperor ensured that the bee was widely adopted in his court as well as on clothing, draperies, carpets and furniture all across France. By choosing the bee as the emblem of his reign, Napoleon was paying homage to Childeric (436 – 481), one of the ‘long haired’ Merovingian Kings of the region known as Gaul. When Childeric’s tomb was uncovered in 1653, it was found to contain 300 golden jewels, styled in the image of a bee. And of course, these are the same bees that Napoleon had affixed to his coronation robe. Sadly, of the 300 bees only two have survived.

Childeric’s hoard was entrusted to Leopold Wilhelm von Habsburg, a military governor of the Austrian Netherlands who was believed to have been a descendent of the Merovingian dynasty. Six years after his coronation, Napoleon married Marie-Louise, the daughter of Francis II, the last Habsburg to sit on the throne of the Holy Roman Empire. Napoleon’s choice of the bee as the national emblem of his imperial rule spoke volumes about his desire to be associated with the Carolingians and Merovingian’s; the early French kings whose funeral furniture featured bee and cicada symbolism as a metaphor for resurrection and immortality. The bee was also a vital symbol of French industry and one of the most prominent emblems of the French Revolution (1789–1799).

Across Europe, more than sixty cities selected an officially approved heraldry shield that included bees as part of its template. Remarkably, the bee was the precursor to the Fleur-de-lys; the national emblem of France. The theory is supported by many, including the French physician, antiquary and archaeologist Jean-Jacques Chifflet. In fact Louis XII, the 35th King of France, was known as ‘the father of the pope’ and featured a beehive in his Coat of Arms. Disappointingly, his efforts to have the bee adopted as the Republic’s official emblem were rejected by the National Convention due to their belief that “Bees have Queens”. Nevertheless, the bee remained a prominent element of French culture throughout the First and Second Empire (1804 to 1814, and 1852-1870) due to the enthusiastic patronage it had previously received.


Robert Lawlor studied the design of the bee and Fleur-de-lys in his book; ‘Sacred Geometry’ and concluded that the 1:√proportion of the design is also found in the Islamic Mosque. Intriguingly, the mystical dimension of Islam known as Sufism maintained a secret brotherhood called Sarmoung, or Sarman, meaning bee. Members of the organization viewed their role as collecting the precious ‘honey’ of wisdom and preserving it for future generations. This, fascination with bees, and preserving wisdom for further generations, is precisely what connects us to Rennes-Le-Château, the unassuming but sombre hill top hamlet in the shadow of the French Pyrenees. Here, at the turn of the 20th century, a group of priests – most famously Berenger Saunière, aroused suspicion with their curious behaviour and apparent wealth, leading many to speculate that they had discovered a great heretical secret – possibly involving Mary Magdalene, Jesus Christ, the Treasure of Solomon, hoards of the Visigoth’s, or valuables hidden during the French Revolution. In reality, what they found, if anything, remains a mystery.

Although the legend of Rennes-Le-Château has struck a chord with modern day audiences, its roots stem from the Merovingian kings so revered by Napoleon, and its origins, ingrained in the psyche of so many of us, go like this: Childeric I fathered Clovis I, who succeed his father in 481 as king of the region that now borders Belgium and France, and in the process became the first ruler to unite the previously hostile and independent Frankish tribes. A line of descendents leads to Dagobert I, king of the Franks from 629–634, who fathered Sigelbert III, who fathered Dagobert II, who married Giselle de Razes, the daughter of the Count of Razes and the niece of the king of the Visigoths. The two were said to have married at Rhedae, a stronghold widely believed to be Rennes-Le-Château, although the association remains unconfirmed. Years later, in 754 AD, Childeric III died childless, marking the end of a dynasty that had been in decline since Dagobert II was assassinated near Stenay-sur-Meuse on December 23rd, 679 AD.


Many believe that the Dalle des Chevaliers, or Knights Stone as it is known today, recalls a portion of this history. The stone portrays two scenes, each consistent with the Carolingian style of the eight century and the popular interpretation is that the primary scene depicts baby Sigebert being carried by a horseman to his mother in Rennes-Le-Château, while some speculate that the Knight is carrying the Holy Grail. Curiously, Wolfram von Eschenbach, who wrote history, never fiction, compiled the first complete Grail Romance, Parzival, and in his account we are told that the Grail is a stone from heaven. This is interesting, given that the word ‘meteorite’ carries the same numeric value (443) in the Cabala as ‘Bethel’ – which translates as ‘bee’ in Egyptian, and many believe the grail to be an oracle stone that fell from the heavens in antiquity, most likely in Egypt.

The belief that the Merovingian’s were special, and that they represented a royal bloodline, led Napoleon to commission an extensive analysis of their lineage. Fascination with the mysterious line of kings continued into the 20th century when a Frenchman by the name of Louis Vazart founded an organization based in Stenay-sur-Meuse called ‘Cercle Saint Dagobert II’, that specialized in the study of Merovingian’s, and Dagobert II in particular. For its logo, Vazart chose an image of a bee inside of a 6-sided cone, or Hexagon – the shape of a beehive cell, surrounded by a circle [see comment section].


Vazart’s selection of the bee is consistent with his research, for France itself is known as l’Hexagone, due to its natural 6-sided shape. Coincidently, the centre line of l’Hexagone closely mirrors the old Paris Meridian, passing near Paris in the north and Rennes-le-Chateau in the south. The ParisMeridian – an imaginary arc that measures the hours of the day, was later replaced by London’s Greenwich Meridian as the international standard for time keeping. However, in recent years, the Paris Meridian has been romanticized and somewhat merged with the notion of the Rose-Line, a mythical sort of ley-line connecting esoterically significant sites from Roslyn Chapel in Scotland to Saint Sulpice in Paris, and onto Rennes-Le-Château in the south of France. Despite its questionable authenticity, it is worth mentioning that the two sites that top and tail the Rose-Line; Roslyn Chapel and Rennes-Le-Château, each feature bee symbolism, and in peculiar ways’’. - http://rennesgroupblog.com/2012/08/08/the-bee-in-rennes-le-chateau-mythology/


I had to follow the numerology of the 8 squares of the painting.


8 represents Infinity and everything good in the universe which is infinite, such as infinite love, infinite supply, infinite energy, infinite time . . . in other words, 8 represents complete and unending abundance without any lack.


“Spiritual Meaning To – 8 – Infinite Wisdom, abundance, strength, courage and determination to be of service to humanity.

8 is endless. It is continuity and Spirit is reminding you of your infinite blessings as you continue in your path and direction.

You are attracting the Universal Law of Manifestation. Hold your focus on expansion growth and magnanimous flourishing endless possibilities.

Seeds you have planted are coming full circle and sprouting into tender seedlings that need your nurturing and pampering.

8 is helping you see Tender Loving Care (TLC) is the energy Spirit is encouraging you to pour into your projects and desires.

8 reminds you that TLC is necessary for your vision to survive and flourish.


Focus on unending joy and pull your attention way from worry. Detach from the spirit of lack. Open yourself up to the miracles of life both in this world and the next.

Free yourself from doubt and negative prophecy by getting out in nature and receiving through meditation and purposeful action.

You are being reminded to seek your highest energy at all times and move with integrity.

The decisions you are making are for your better good and all others involved.

Karma is bringing you the blessings you have worked hard for.

You deserve this beautiful new pathway into your future.

Continue to strive for manifesting your wishes hopes and dreams.

Spirit is reminding you that you get out what you put into your projects.

8 is reminding you to nurture the process and learn from each experience along the way.

Begin building your future now to fulfill your blessed outcome later.

Pour positive energy into your vision and set your optimistic and infinite loving vibration on your wished hopes and dreams.

8 is asking you: What do you desire?


Live up to your fullest potential and strive to see the good in all. You are achieving many things and Spirit is working on your behalf behind the scenes.

Your Angel’s and Spirit Guides are helping  you manifest wealth and happiness.

8 is – Abundance that satisfies your experience in this earthly plane and the Spirit realm.

As your blessings begin to unfold be sure you continue to move with integrity as things are coming full circle and continually regenerating from the energy you are sending.

8 is Spirit is reminding you of the signs you receive through your Spiritual Guidance to recognize each manifestation.

8 is helping you pour your energy into positive affirmations, intentions, and thought.

8 is helping you keep your vision strongly grounded in your gratitude to receive as financial and spiritual unconditionally loving abundance is upon you’’. - https://www.necolexo.com/2017/03/22/spiritual-number-8/


“Times may have changed, but one thing remains true: The Bohemian must make his own way in this world and during his journey he must remember himself, his fellow man and the future of his planet. In the words of Gelett Burgess ‘What, then, is it that makes this mystical empire of Bohemia unique, and what is the charm of its mental fairyland? It is this: there are no roads in all Bohemia! One must choose and find one’s own path, be one’s own self, live one’s own life.’’ 
- http://awriterundertheinfluence.com/a-new-bohemian-philosophy/

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