Eagle Images, Symbols and Meanings


The eagle with extended wings as if in the act of flying, has always, from the majestic character of the bird, been deemed an emblem of imperial power

The eagle symbolized strength, courage, farsightedness, and immortality. It is considered to be the king of the air and the messenger of the highest Gods. Mythologically, it is connected by the Greeks with the God Zeus, by the Romans with Jupiter, by the Germanic tribes with Odin who shapeshifted into an eagle, and with the Druids as a symbol of the Supreme God ..

By the Judeo-Christian scriptures with God, and in Christian art with Saint John the Evangelist.

The Eagle was an ensign of the ancient kings of Persia.

It was a bird sacred to the Sun in Egypt, and in Greece it was the emblem of Jupiter.

Marius, the Consul of Rome, 102 B. C., ordained that the Eagle should be the sole designation of the legions as their ensign, and allowed other emblems to designate the cohorts. The single headed Eagle thereby became the emblem of the imperial power of Rome ever afterwards.

After the division of the Roman Empire into the East and the West, the emperors of the West used a black Eagle, and those of the East a golden one, since which period Austria, Prussia, Russia, France, and also Poland, when a nation, have also used the Eagle as their royal emblem.

The double headed Eagle signifies a double imperial power, and was for the use of emperors who claim to be the successor of the Caesars of Rome ; Thus the Eagle of the Eastern Empire united with that of the West, typifying the Holy Roman Empire, and is where we see the use of this double head.

Charlemagne was the first to make use of the double headed eagle when he became the head of the whole German Empire by adding the second head A. D. 802, thereby denoting the union of Rome and Germany.

After the dissolution of the Holy Roman Empire in 1806, the double-headed eagle was retained by the Austrian Empire, and served also as the coat of arms of the German Confederation.

The symbol of the double headed Eagle was first known to Masonry in 1758, upon the establishment of a body calling itself Emperors of the East and West.

Eagle and Double Headed Eagle Symbolism in Freemasonry. As a symbol the Eagle more prominently appears in the 18th, 30th, 32nd and 33rd degrees, the first being an Eagle of one head, and the others double headed.

The double headed Eagle of Kadosh, that is of the 30th, 31st and 32d degrees, is a white and black Eagle. The head, neck, legs, and tips of the wings are of white feathers, while the body and wings are black. In brief, the bird should be in its natural colors, its wings extended yet drooping. The black symbolizing decay and the white sublimation, or the approching gradual change to the incorruptible, the becoming pure, holy, Kadosh, immortal. In the claws is a naked sword; one talon of the right claw clinching the hilt of the steel blade of serpentine shape, the left claw grasping the blade. The white ribboned motto pendent from the hilt to the point of the sword contains the words ” Spes Mea in Deo Est” in black.

Moe is the founder of GnosticWarrior.com. A website dedicated to both the ancient and modern teachings of Gnosticism.

Origins of Freemasonry – Preface

By Maurice Bedard

It has been about two years since the time I was driving down the street and I heard a voice in my head saying, “Our family started the Brotherhood.” This came shortly after I had applied to become a new initiate for the Freemasons in Temecula, Ca where I was living at the time. But I was denied due to my previous issues with the law that included a few felonies on my record. This precluded me from joining per their bylaws.

The news of my rejection had made me a bit depressed because I was honestly trying to become a better man and also help my community at the same time. Before I had applied for membership, I had extensively studied Freemasonry and the secret mysteries surrounding the craft. I felt connected to them, even though I was an outsider. Their symbols, signs and stories seemed to resonate in my blood. This latter statement of resonating in my blood, I would not realize at the time of these revelations, was actually something physical that I was feeling because the intuition of knowing that I had descended from the founders of freemasonry was embedded into my DNA.

When I talk about DNA and intuition via DNA gnosis, I know this subject may seem foreign to some of you. But please let me inform you that in the future of freemasonry, esoteric research and spiritual science, it will be one of the hottest subjects of research from hereon out. Not many people are aware that our false realities that we live today are mostly  constructs and in order to see past the illusion, one must look within to know thyself  and when we do this, we are simply tapping our own DNA for these answers or truths that we seek. In the end, many of these answers and truths that we find will be as different as our DNA or the religious dogmas that we  ignorantly hold on to.

This is the great human divide that has always been the main problem in building the Temple of Solomon. This I will explain more later when I get to that chapter of my book.

These two years here since I had these first had this revelation that my ancestors had started the brotherhood have surrounded by nothing but intensive research and hardcore introspection. I have been simply on a mission led by my spirit to find truth and share my findings with my fellow brothers and sisters whomever they may be out there reading my words. I sincerely hope you my finding with an open mind and heart where the light of the truth in my words will outshine any old blood battles or religious dogmas that we all may have buried deep inside our temples.

May peace, love and light be with you as you walk your path.

Moe is the founder of GnosticWarrior.com. A website dedicated to both the ancient and modern teachings of Gnosticism.

Sacred Images Part 1 of 2 – By Manly P Hall

Text Versions of Sacred Images Part 1 of 2  By Manly P. Hall: A number of years ago, I was in a little town, Darjeeling, on the northern boundary of India where it met Tibet. There were several visitors from various countries and the hotel management decided it would be appropriate to give a little entertainment in the Tibetan spirit. So they brought in about a half a dozen Tibetan dancers, with their masks and regalia, to entertain. Among them was a little boy, about eight years old, a very cute chubby little rascal that everyone liked immediately.

But when the time for the dance came, he put on one of the most grotesque mask you’d ever want to see. He really looked like a

Various Balinese Topeng (dance masks), Taman M...

Image via Wikipedia

nightmare. Of course, everyone knew it was the little boy.

But during the dance, he started moving over rapidly towards the audience and always getting ready to attack them. You should have seen the audience scatter. They all knew it was the little boy but with the mask, something happened.

The evil spirits of ancient and primary fear moved in on those people. They actually subconsciously were terrified.

On another occasion, I remember in the Japanese Noh drama where the principal actors are masked, many of the themes are highly sacred. In the various performances, the actors are nearly always concealed behind these wood-carved masks that are well-painted and decorated but of course, have no expression except that of the original carving.

But under a careful handling of light, particularly by the postures of the head in relationship to the source of light, these faces seem to change. And in moments of joy, the face really seemed to smile and in sorrow, the face looked very tragic. Yet it was done with a wooden mask but everyone felt it. The skill in which the mask was handled was the principal factor.

In the southwest United States, we have a series of ritualistic dances by the various Indian tribes, the Zuñis, Hopis, Navajos. These dances often included masked figures and everyone knows that these masked figures are members of the local community.

 

Masks

Image by Mountainbread via Flickr

One of the men with the mask, very carefully developed but rather crude mask, actually has two children in the audience. They all know that it’s father but when he dances toward them with the sacred column, they kneel instinctively as though he was a god. Something happens when the masks begin to take a part in religious rituals.

Masks were used in Egypt, we know, in the temple mysteries. Even today, the various carvings and manuscripts of Egyptian origin show human beings with the masks of birds and animals. The Greeks used masks in their theater also. Nearly always a mask becomes a complete change of personality.

If accompanied by adequate religious ritual, the mask becomes the secret of the development of a peculiar theological belief that there was a divine power in the mask. And when it was worn correctly and under ritual supervision, it brought a deity into contact with humanity.

On the course of time, the mask, of course, has gradually faded but in many primitive countries, they still survive. Then came another step forward in the study of human psychology. It is almost impossible for the average person to understand a completely abstract principle. It is very hard to visualize something that has no form or to visualize an energy which is completely unembodied.

From very early times, it became apparently necessary to present nearly all of the important truths of life symbolically. We have

Masks

Image by GoDakshin via Flickr

wonderful symbolic books, like Aesop’s Fables or Pilgrim’s Progress. We have very wonderful ancient sculpturing and statuary, paintings, carvings of all kinds, retablos and icons which are presumed to have certain sacred value in themselves.

You can go from one end of the world to the other among middle class group of people, the average person, and you ask them if they believe that these statues are actually divine or have spiritual power in themselves. Nearly everyone will answer no.

Even in the midst of a vast array of this imagery, nearly everyone accepts the fact that it is symbolical and that it represents something that cannot be directly seen. It represents a power in nature which is in itself invisible.

The idea of this type of symbolism apparently arose from man’s study of his own environment.

It gradually dawned upon him that pure life, in its own essence, is invisible. We know it is present because of what it does but we do not know what it is. Therefore, when we begin to study life, we have to do it by examining living things. We are not able to understand the substance of energy or vitality or force but we are able to estimate its consequences.

Therefore, as we look around these in nature, we see an infinite diversity of living things, all of these living things supported by one essential, basic life principle.

Under such conditions, it must become obvious that this life principle has many appearances. It has as many forms and appearances as forms and appearances exist in nature. It is not only represented by picture, it is represented by sound or color.

Engraving by Lucas Jennis, in alchemical tract...

Image via Wikipedia

It is represented by mathematical formulas and astronomical observations and it is represented by now a very complex group of chemical and electronic symbols. And yet underneath all of this vast array of symbolism, it is obvious that there is one invisible life principle.

This principle separated from all living things is almost impossible to define. The only way we can define it is to reveal it through its own works.

Our ancient forebears were certain that all creation was a revelation of one principle. Therefore, in order to make a diagram or a picture of this principle, something had to be found that could be equated with everything that exists.

This symbol had to be inclusive enough to reveal the utter diversity of the divine power and yet at the same time sufficiently integrate it to realize or to represent the fact that this divine power was in the ultimate one, an indivisible principle manifesting constantly through utter diversity.

It therefore seemed quite proper to select various symbols to represent this one indivisible but invisible unity at the source of existence. The Greeks have their pantheons of gods, so did the Egyptians and the Latins, the Hindus and the vast mass.

Pin It on Pinterest