Category Archives: art

The Veil of Isis

This work is by Ludovic Pinelli; you can purchase a print here.

To Isis, a Veil
En Iset, Behen

This is a gift I bring before Isis the Hidden One, Who, Revealing Herself, Shakes Destiny: an invocation offering of a veil.

For You, Isis, a hiding, a hint, a whisper, an obscuration, a veil.

From behind it, may You send revelations into my sleep. Dreaming, I understand the inner voice and vision; I coax truth from my heart. Yet upon waking, the veil is torn asunder and I only half remember that which was so potent while I lay beneath Your veil.

Egyptian woman with headdress

O, but I adore Your mystery, Your obscurity, the crooked finger of Your concealing veil! Yes, Goddess, yes—veil Yourself in the depths of the indigo sky, in a blue-green blade of grass, in fire, in eyeshine in the darkness. For I could not bear the full brunt of Your beauty!

Draw me on with insinuations. Call to me with half-answered questions. Lead me with unknowns. And I shall ever follow, carrying the train of Your not-quite-translucent veil, hoping for another brief glimpse of You, beneath it.

Listen, O Isis, to the words of the Veil: “I am offered unto Isis as a kindness to mortals for I am their shield against the awe of the Goddess. Woven of darkness and daylight, the Cosmos itself is the loom upon which I was made. All things are connected to me in warp and woof. Tayet Herself, the Weaver, has made me, a perfect thing. I am the Uniting Mystery Never Quite Revealed. I am the Veil of Isis.”

Unto You, Isis, I offer this veil and all things beautiful and pure. M’den, Iset. Accept it, Isis.

The Veil of the Goddess

A coin with the image of Ptolemaic Queen Berenike II of Egypt with head veil

The phrase “the Veil of Isis” is so common that we might not question where it came from. But perhaps we should. For one thing, ancient Egyptian women generally weren’t veiled so it would be odd to see a Goddess depicted so. Oh, there were headdresses aplenty, but not concealing veils.*

By Ptolemaic times, under Greek influence, we do see veils as head coverings come into use, though they seem more decorative than anything else. Both Greek and Roman images of Isis often include a veil covering the back of the head and hair.

Sais is a delta city

The phrase, Veil of Isis, comes to us from our Greek friend, Plutarch in his essay On Isis and Osiris. In it, he is talking about Egyptian Mysteries. He tells his readers that when the new pharaoh was crowned, he became privy to hidden Egyptian philosophy and notes that the Egyptians’ knowledge of their Deities “holds a mysterious wisdom.” To illustrate his point, he notes a certain seated statue of the Goddess of the Egyptian city of Sais. He says She is Athena “whom they [the Egyptians] consider to be Isis also.” She would, of course, be Neith, the Lady of Sais, Who was indeed assimilated to both Athena and Isis.

The statue bore an inscription: “I am all that was, and is, and shall be, and no mortal hath ever Me unveiled.” It speaks to the all-encompassing power and mystery of the Goddess.

A Roman image of Isis, with veil

If there was such an image, we have not yet found it. Since Plutarch was writing in the 2nd century CE and the Ptolemies came in long before that, about 300 BCE, it is possible that the image of Neith-Athena-Isis could have been veiled—at least with the decorative-type veil we see in images of some Ptolemaic queens.

Proclus, a Greek philosopher writing in the 5th century CE, also quotes the inscription and adds another line: “The fruit that I have brought forth the Sun has generated.” He doesn’t mention Isis, but rather Neith-Athena and speaks in terms of the Goddess being involved in creation processes, both visible and invisible.

There are a few other ancient references to the veil of Isis. The Greco-Egyptian magical papyri refer to it on several occasions. In one, the magician invokes Isis and asks Her to remove Her veil in order to reveal the future and “shake destiny.” By revealing the Mysteries beneath Her veil, the magician hoped that the Goddess Who was worshiped as Lady of Fate and Fortune could not only predict, but could change or “shake” destiny.

Science unveiling a multi-breasted Nature

Even after the end of the open worship of the Pagan Deities in the Mediterranean, Plutarch and other Greek philosophers continued to be studied. Because of Plutarch’s mention of the inscription in relation to Isis, the idea of the veil of Isis formulated more and more strongly and eventually passed into the annals of the Western Esoteric Tradition. The unveiling of the Goddess became a symbol of the revelation of esoteric secrets, sometimes specifically the revelation of Egyptian secrets.

European esotericists of many kinds came to use the metaphor of the Veil of Isis for the hiding or revealing of their own secrets. By this time, Isis was identified with the Goddess Nature, Who hides Her secrets from those who seek to understand Her.

This idea was particularly important to the alchemists who sought to uncover Nature’s secrets—She Who is Isis and Venus and Ephesian Artemis and the Anima Mundi (World Soul). Freemasons took up the idea of a veiled Isis keeping their own secrets and some even found Egyptian antecedents in their rituals.

A French occult magazine titled the Veil of Isis

The Romantic movement, which rejected what they considered the coldness of the Enlightenment, preferring emotion and imagination, was also developing at this time. For Romantics, Isis’ veil concealed not just the scientific secrets of Nature, but a deeper, unexplainable Mystery that is, at the same time, Ultimate Truth.

Philosophers took up the metaphor as well. Immanuel Kant said of the Saite inscription: “Perhaps no one has said anything more sublime, or expressed a thought more sublimely, than in that inscription on the temple of Isis (Mother Nature).” Influenced by Kant, the physician, playwright, poet, and philosopher Friedrich Schiller (what a guy!) tells a tale in which a young initiate rashly removes the Veil from a sacred image of Isis and is found nearly dead the next morning by the wiser priests; apparently, the secret was just too much for him.

Following in those mysterious footsteps, Helena Blavatsky’s 1877 book, Isis Unveiled, is a compendium of occult lore that purports to draw aside the veil of the Goddess for its readers. It continues to influence occultists to this day.

As a metaphor, the Veil of Isis was ubiquitous for centuries. Alchemists, magicians, freemasons, philosophers, scientists, poets, novelists, and visual artists all desired to life Isis’ Veil to discover the deepest secrets and truths, truths about Nature and truths about human beings in Nature.

This post barely scratches the surface of the many ways and places people were inspired by the veil of the Goddess. I’ve expressed some of my thoughts in the Offering at the beginning of this post. What is the Veil of Isis for you?

“Isis, Goddess of Life” on the Herbert Hoover National Historic site. A gift of the people of Belgium in gratitude for Hoover’s famine relief efforts for them in WWI. Engraved on the statue, in French, is,” I am that which was and is and will ever be, and no mortal has yet lifted the veil that covers me.”

* It is possible to see the daily opening and closing of the shrines that held the sacred images of the Egyptian Deities as a kind of unveiling and veiling of the images.

Missing the Memo





Last night, I had dinner (on the porch in spite of the record-breaking heat here in the mystical MidAtlantic! Of course, we did have shade, the ceiling fan, and a bottle of icy grand cru from Arnould & Fils, recommended by my brilliant friend Stoat) with a beloved magical Sister. I asked her, "You'd tell me, right? Mercury didn't unexpectedly go retrograde and I just (in retrograde Mercury fashion) missed the memo?" Because it would explain a lot. (Blogger, you fickle, evil BitchGoddess, I am looking, inter alia, at you.)

And speaking of missing the memo, I'm not sure why I am just now finding out about the amazing sculpture of Fidelma Massey. If I'd known about her sooner, I'd have planned my garden around one of her sculptures. As it is, I'm going to have to sit down w/ Landscape Guy and see where we can work one in. There's a spot he's been pointing to along the Southern boundary for a few months and saying, "Something needs to go there. You need to figure out what."

And, in true if-Mercury-isn't-retrograde-who-is? fashion, I'm not sure where I first found Ms. Massey's work. I thought it was at Sally J. Smith's site, but now I can't find it there. (And I'd love, someday, to get Sally to build one of her fairy houses in my garden for G/Son, too. He's so fascinated w/ the fairy door on the big maple in my woodland). Whoever brought Ms. Massey to my attention, many thanks!

Which of her works do you like best?

Pictures: Google "Fidelma Massey" and click on "Images".

Missing the Memo





Last night, I had dinner (on the porch in spite of the record-breaking heat here in the mystical MidAtlantic! Of course, we did have shade, the ceiling fan, and a bottle of icy grand cru from Arnould & Fils, recommended by my brilliant friend Stoat) with a beloved magical Sister. I asked her, "You'd tell me, right? Mercury didn't unexpectedly go retrograde and I just (in retrograde Mercury fashion) missed the memo?" Because it would explain a lot. (Blogger, you fickle, evil BitchGoddess, I am looking, inter alia, at you.)

And speaking of missing the memo, I'm not sure why I am just now finding out about the amazing sculpture of Fidelma Massey. If I'd known about her sooner, I'd have planned my garden around one of her sculptures. As it is, I'm going to have to sit down w/ Landscape Guy and see where we can work one in. There's a spot he's been pointing to along the Southern boundary for a few months and saying, "Something needs to go there. You need to figure out what."

And, in true if-Mercury-isn't-retrograde-who-is? fashion, I'm not sure where I first found Ms. Massey's work. I thought it was at Sally J. Smith's site, but now I can't find it there. (And I'd love, someday, to get Sally to build one of her fairy houses in my garden for G/Son, too. He's so fascinated w/ the fairy door on the big maple in my woodland). Whoever brought Ms. Massey to my attention, many thanks!

Which of her works do you like best?

Pictures: Google "Fidelma Massey" and click on "Images".

Missing the Memo





Last night, I had dinner (on the porch in spite of the record-breaking heat here in the mystical MidAtlantic! Of course, we did have shade, the ceiling fan, and a bottle of icy grand cru from Arnould & Fils, recommended by my brilliant friend Stoat) with a beloved magical Sister. I asked her, "You'd tell me, right? Mercury didn't unexpectedly go retrograde and I just (in retrograde Mercury fashion) missed the memo?" Because it would explain a lot. (Blogger, you fickle, evil BitchGoddess, I am looking, inter alia, at you.)

And speaking of missing the memo, I'm not sure why I am just now finding out about the amazing sculpture of Fidelma Massey. If I'd known about her sooner, I'd have planned my garden around one of her sculptures. As it is, I'm going to have to sit down w/ Landscape Guy and see where we can work one in. There's a spot he's been pointing to along the Southern boundary for a few months and saying, "Something needs to go there. You need to figure out what."

And, in true if-Mercury-isn't-retrograde-who-is? fashion, I'm not sure where I first found Ms. Massey's work. I thought it was at Sally J. Smith's site, but now I can't find it there. (And I'd love, someday, to get Sally to build one of her fairy houses in my garden for G/Son, too. He's so fascinated w/ the fairy door on the big maple in my woodland). Whoever brought Ms. Massey to my attention, many thanks!

Which of her works do you like best?

Pictures: Google "Fidelma Massey" and click on "Images".

Creating Beauty



Did you create some beauty today? For my part, I put together an elegant legal argument and spent some time teaching young lawyers how to think and write about the law (which is as beautiful to me as the sand is to the artist above -- and almost as malleable a medium and certainly as susceptible to changing tides). And now I'm going to spend time knitting a sweater to keep G/Son warm next year. Tell me about the beauty you created.

************************

Update: I see that SoBeIt and I are reading from the same book today.

Co-Creation with the Landbase Requires Deep Attention


Here's a great post by artist Sally J. Smith that shows what it's like to pay deep attention to your landbase. In a recent interview, Smith described how her art reached a turning point when she realized that she wanted to be out in nature, co-creating art with it, rather than inside a studio, making pictures of it. You can see in her post how this requires her to enter into relationship with her landbase, rather than simply live on it.
I don't know what it has been like where you live, but here it seemed winter would last forever. It was just last week that I was bundled up and huddled along the ice-bound shores of the lake waiting for the sun to rise. I still had the chance to make ice sculptures it was so cold here. The snow was deep in the woods, but it was crystallized and granular. The delicate flakes long gone, but now a coarse sugary texture. Difficult to make sculptures with as it does not stick together well. So this time of year is tricky in terms of making sculptures. But the sun is so strong now that the snows do melt, even if the temperatures can only rise to the low 40s which was all that could be managed last week. But the emerald green mosses are emerging and letting me know that soon, very soon it will be time to play with this exquisite green once more.

The combination of melting snow and icy nights makes for some fascinating sculptures to be found however! One day, while walking in a nearby field, I found these delicate polka dot creations creating an exquisite lace effect at the edge of the snow. The day was grey and the wind was cold, but the day before had been sunny. Just warm enough to create the droplets on the underside of the paper thin ice... which re-froze in the chill and still night air.

You should read the whole post for great discussions of her close connection to some local birds and the control that nature exercises over her work.

How deep is your attention to your landbase? How deep is your landbase's attention to you? Who's leading the dance?

Picture found here.

Synchronicity, You’re Soaking In It



I love the artist's discussion of how her childhood spent in Nature influences her art.

*****************************************

[H]ealing the broken bond between our young and nature—is in our self-interest, not only because aesthetics or justice demands it, but also because our mental, physical, and spiritual health depends upon it. The health of the [E]arth is at stake as well. How the young respond to nature, and how they raise their own children, will shape the configurations and conditions of our cities, homes—our daily lives.

~Richard Louv
More here.

Hat tip to Margaret Roach, in A Way to Garden.

Air


Art, especially sculpture, has always spoken so deeply to my Younger Self. And I've long been a huge fan of Andrew Goldsworthy's work. Lately, I've been getting a lot of inspiration for things in my own life from two artists whose works contain echoes of Goldsworthy. One is Patrick Dougherty. Here's a short video about how he creates interesting spaces from tree branches.



Dougherty has an exhibit at the Brooklyn Botanical Garden that I'm itching to go see; like most sculpture, his work doesn't translate all the way into two dimensions.

The sculpture at BBG is woven from nonnative woody material that was collected from Ocean Breeze Park on Staten Island. The harvesting site was chosen by BBG's director of Science because of its proximity to the Garden and its large population of nonnative willow (Salix atrocinerea), which is designated an invasive species in New York State. Removal of saplings of this species helped protect the site's excellent assemblage of herbaceous plants. The park is owned by the City of New York and is targeted for restoration under the City's PlaNYC sustainability initiative.

. . .

When asked about some of the words that came to mind as he contemplated what he wanted to build in Brooklyn, Dougherty smiled and said "lairs; a place for feral children and wayward adults."


Maybe I can borrow G/Son and we can go one weekend this Spring.

The second is Sally J. Smith who blogs here. I especially like how Smith's work honors the changing seasons. Here's a short video showing some of her works for this time of year:



And here's another, with ice sculptures for the coming Winter. I love the way that Smith intentionally incorporates the Sun and Moon (yes, the real ones! and she's not alone) into her work.



What inspires you right now?

Picture found here.