Through Ancient Eyes: Seeing Hidden Dimensions, Exploring.

Through Ancient Eyes explores how art is a metaphysical activity, while illustrating the art and soul connections that have existed since ancient times. Drawing on a wealth of information, which includes prehistoric art and prophecy, through to the work of William Blake – this fascinating book unlocks ancient wisdom that has in- spired artists from all ages.

Expanding our view of the creative process, we are taken on a journey that weaves together a cornucopia of myths, archetypes and symbols, which through art, can reveal hidden dimensions of the soul. This unique book unravels the symbolism contained within ‘Gnosticism’ and offers a new insight into the ‘Orion mysteries’. The book reveals how the esoteric practices of secret societies and the art of historical artists are connected. What they have in common, artist and priest, is the understanding of a hidden knowledge, which throughout the ages has been used to ‘liberate’ or ‘control’ the human psyche.

Using over 100 illustrations, Neil Hague shares his own visions, challenging the conventional view of art, history, science and the symbols of the stars. He offers an alternative perspective, one that sees humanity’s role as multidimensional beings, breaking free of the shadows and self-imposed limitations that prevent us from awakening the creator within. He says: "Ancient peoples used their creativity to communicate with powerful forces that are, once again, raising the vibrations of our planet. Visionaries and prophets, artists and poets (along with filmmakers), throughout history, have all used their 'ancient eyes' to tap into creative consciousness”. Through his own unique art, Neil attempts to demystify the spiritual systems, different dimensions and interdimensional forces that interpenetrate our world – many of which have been recorded in art and texts since ancient times.

The Hallmark of the Gods - the Art of the Elite.

Art and esoteric knowledge have been used since ancient times to create fantastic structures that speak of the heavens on Earth. The pyramids in Egypt and South America are fine examples of art and advanced science combined to harness both masculine and feminine energies, which become power structures. The esoterical aspect of this male dominant force is symbolised widely through the Egyptian obelisk. The obelisk is a symbol for the erect penis of the star god Osiris (Egypt) or Ouranos (Greek). Legend says it was cut off by his brother a titan named Seth or Cronos (Saturn). Titans, according to Greek mythology, were the children of the Sky gods and the Earth goddess Gaia. Like the Frost giants of Norse mythology and the Rock and Storm giants of numerous myths, they were said to have been thrown into Tartarus by Horus/Zeus after an immense battle between the gods.

A constant battle theme has also been told in many oral traditions and religious texts, such as the Book of Revelation, which tell of the old serpent (the titans) or he that is called the devil, being cast down to earth and shut into the abyss.20 The watchmen for the gods, in Norse mythology, were called Heimdall or Rig, who were said to have fathered the system of hierarchy and created three points or categories of men. These were the slave (Thrall), the freeman (Karl) and the priestly class (Jarl). The symbol of Heimdall can also be found on the Hierophant card in the Tarot, which is meant to signify authority over others. Jarl was said to be his special son, the first of the patriarchs and the priestly class who would communicate between the peasant and the 'gods'. The lineage of Jarl is said to be that of the priest king or Pharaoh who were given the 'divine right to rule'. It is this ancient lineage of magicians, priests and kings who have used the occult with war since!
ancient times, as a vehicle for controlling the sons of Thrall and Karl. In symbolic terms the pyramid is an ancient structure that allows the servitude of the masses to continue into the present day.

Heraldry is Hereditary

The heraldic art of 12th Century Europe has all the hallmarks of ancient kings, princes and rulers boasting of their divine connections with the gods. The symbolism in heraldry is no different from the symbolism used in ancient civilisations like Sumeria and Egypt. As always it was the ideas and messages hidden within heraldry that spoke of their true family heritage.

In native America we have beings, animals, birds and gods as decoration on shields. And in Ancient Greece shields and armour bore a wide variety of tribal figures. Aeschylus in 500 BC is said to have recorded that lions, boars, fish and other objects were on the shields of the warriors who attacked Thebes. Rome and its legions also had its insignia, so did the early Teutonic peoples who attacked Rome. In much later periods the Normans and Saxons also decorated their shields and banners with beasts, crosses and other icons of heritage. The students of heraldry are told that the more ancient insignia differed from that of 12th Century heraldry, in as much that the ancient insignia were created to establish identity of an individual or of a bloodline. It is probably true that the system of heraldry was developed to help regiment armies and decorate their military organisations. Yet, it too was an obvious hallmark used by the various bloodlines and their god-kings and can be traced back to ancient times. As JP Brooke-Little writes in Boutell's Heraldry,

" It is true that some of the emblems found in ancient symbolism have survived to take their place as devices in heraldry. For example, the British tribal emblem of a dragon became a supporter of the Royal Arms in Tudor times and is still the badge of Wales".

I suppose that particular one gives the game away, especially when you notice the same dragons and flying serpents on ancient temples, gothic cathedrals, stately homes and even in the financial centre of London. Many other emblems, like that of the fleur-de-lis and the lion, are also ancient insignia for the royal bloodlines that have ruled since the time of Sumer, through Rome and into the modern world. That is why these insignias have survived on royal crests and coats of arms to this day. Other heraldic charges like that of eagles, cocks, serpents, monsters, panthers, unicorns, mermaids, bees, escallop shells and star symbols can also be found in the ancient world to represent the gods and their bloodlines. Other insignias relate to knowledge of star systems, magic and many invisible beings that influence our reality. The lion, panther and dragon are all representations of the reptilian gods, or what the Aztecs called the lords of Xiballba (Underworld). While crosses, suns and stars are symbols of the sacred fire (knowledge) and the sun gods revered by the ancients. All of these icons would also find their way on to the insignia of the many knights' organisations that emerged at the same time as heraldry.

Organisations like the Knights Templar and Teutonic orders also carried ancient symbolism that spoke of their god kings, ancient mystery schools and the knowledge they had inherited from the magicians (priests) of Egypt and Sumeria. Adolf Hitler was even depicted as a Grail Knight on propaganda posters in 1936, which in my view, reveals the true nature of these ancient orders and what lengths they have gone to, to create their 'New World Order'. One of their most prominent symbols that can be traced back to ancient Egypt, is the all-seeing-eye. This motif would become the insignia of the biggest secret society of today, the decedents of the knights of heraldry, in other words the Freemasons.