From dedicated member Devon:
Original drawings by Marko, in chapter 8 of the book “The daughter of Gaia” are present in the PDF links to Marko Pogacnik books below.
From “The Daughter of Gaia” by Marco Pogacnik 200
Page 82: “Some spiritual teachings blame the ego for seducing humans into an attachment to the “illusion of the physical world”. I vigorously oppose that type of projection. Just as the divine aspect of the human being relates to our participation in the infinite dimension of eternity, so the ego relates to the framework of our incarnation within the dimensions of time and space.
There is nothing wrong in this. It only becomes wrong if the true role of the outer self is misunderstood, and the resulting inner disproportion allots more responsibility to the ego than it can healthily bear. The inflated ego can be destructive of one’s inner development, but no more so than the glamorous projections of the so-called “higher self” and its divine origin, such as are fostered by some spiritual movements.”
Books by Marko Pogacnik:
From the book “The Daughter of Gaia” by Marko Pogacnik, I’m copying Chapter 8.
Liberatress – The Feminine Redeemer is about to manifest.
“One of the inspirations that came to me while preparing for the current book was a sentence clear as a crystal, which I awoke to a few days before I started to write in mid-December 2000. It stated simply and without any comment: “Saskia—a figure of the Feminine Redeemer.” One might wonder, who is Saskia? She was the much-loved wife of Rembrandt, the famous 17th century Dutch painter. She often figured as a model for his paintings but died quite young and left the painter in grief and solitude. After her death she appeared once again as a mysterious image in one of the master’s well-known paintings, the grand-format canvas called the “Night Watch.” She can be identified as a young woman of childish figure, moving quasi-invisibly among the soldiers.
The canvas was painted in 1642, the year of Saskia’s death. Constantly surrounded
by crowds of visitors, today it adorns one of the walls of the Rijks Museum in Amsterdam. I knew without a doubt that the inspiration referred to the “Night Watch” and Saskia’s puzzling appearance as a bright being of light moving among the grave-looking soldiers of Amsterdam’s night watch company.
They had ordered a group portrait to be painted by the grieving master.
But when the painting was finished they refused to pay for it, because they asserted that it showed some figures that had nothing to do with their profession
and the membership of the group. Rembrandt’s disappointed customers had mainly in mind three strange images arranged in a triangle around the center of the painting.
Illustration of Marko’s drawing: find it in the PDF version of the book. Links are included in this document at the top. From Marko’s own perception put in words:
Rembrandt’s Night Watch with the little figure of Saskia led by the Black Dwarf.
The figure of the dog below and the man with the tall hat above complete ‘the triangle of the human self ’.
Here’s a picture of Rembrandt’s Night Watch (Nachtwacht in Dutch)
At the bottom right, a dog is sneaking among the soldiers’ feet. Opposite, there appears the childish figure of Saskia, glowing with an extremely radiant golden light and gliding graciously among the soldiers who obviously do not see her. The third image to which they objected marks the top of the triangle.
It shows the round face of a man with a tall hat on his head. When I was exploring Amsterdam in 1998 to prepare my second Earth Healing workshop for the city, I felt attracted to the Rijksmuseum. I did not know which painting was calling me, but
I knew from experience that there exist some rare works of art through which the soul of a given place finds a window for expression.
I had encountered some paintings of this kind in Venice and had used them to decode the essence of this unique water city1. Amsterdam is also a water city, where canals provide the main pattern for its structure. Because the constitution of the
two cities was complementary, I supposed that in Amsterdam too I could find art works that spoke the hidden hologrammic language, telling stories of which we are unaware.
So I decided that I would first walk through the famous Museum without looking at the paintings—which has to be esteemed a sacrifice because I was going there for the first time and would have enjoyed seeing its treasures. Instead, I stepped
into the center of each display room, closed my eyes and tried to feel whether a piece of art was displayed there that attracted my inner attention. You may be interested in the kind of exercise I use in order to perceive the inner light of paintings:
Exercise for perceiving the invisible aspect of a phenomenon
- Find your inner center and focus there for a moment.
- Then imagine that you turn a somersault backwards and in the next instant find yourself on your feet again. In this way your consciousness slips through the archetypal space of your back to attune to the invisible side of reality.
- After you have landed on your feet again, your eyes are closed (or perhaps open) and you watch inwardly. The exercise can also be used to perceive elemental beings or geomantic phenomena.
Of the Museum’s paintings, Rembrandt’s Night Watch revealed the strongest light impulse. Observing it, I noticed that the commander, depicted in the very front of the group of soldiers, is dressed in the traditional colours of the Goddess—
white, red and black—which are also the colours of Amsterdam’s coat of arms.
Drawing myself into the inner atmosphere of the painting, I could recognize in it the archetypal patterns of Amsterdam and the message of the city’s neglected soul.
But a year later, while I was preparing the follow-up workshop for Amsterdam, I felt that the painting was again calling me, as if an even deeper layer of its message was awaiting, one which I had overlooked the previous year. This time I felt inspired to take the whole workshop group with me to the Rijksmuseum, rather than going alone. After I had explained the Night Watch to the group, showing it to be a surprisingly exact representation of the city’s geomantic organism, I suggested they take a little time to personally experience the atmosphere of the painting. During the few minutes’ span devoted to individual investigation, a few members of the group approached me to ask the meaning of the dark, almost black, ‘dwarf ’ figure with a wreath of laurel round his helmet, who seems intertwined with the bright presence of Saskia.
I felt deeply embarrassed. I hadn’t even noticed the dark figure that obviously belongs to the triangle representing the archetypal dimension of the painting. The ‘dwarf’ is as little as Saskia and seems to be holding her hand as if he were her guide. In contrast to Saskia, he is looking away from the spectator and is almost completely hidden behind the dominant figure of the commander adorned with the colours of the Goddess.
On the other hand, I was relieved by the discovery of this new riddle because that night I had dreamt of the Goddess, but had been unable to recognize her. I knew therefore that there must be a blind spot in my consciousness that was causing my
insufficient perception. Now I was offered an opportunity to enlighten it. In the dream, I entered my parents’ dining room and saw a slim woman seated at the table in the place where as a child I had always sat during meals. Because she was sitting in front of a window lit by bright sunlight, she appeared completely dark to me and I couldn’t recognize who she was. So I approached her and reached out my hand in greeting. She stood up to come closer to me, but still remained unrecognizable because the bright light at her back was becoming even more intense.
What made her known to me as infallibly representing the Black Virgin was a dark kind of inner light that glowed within her. When I looked again at Rembrandt’s painting, I could recognize in the half-hidden figure of the ‘dwarf’ some surprising
similarities to the Black Lady of my dream. Because the ‘dwarf’ is positioned in front of the bright presence of Saskia, he appears almost completely dark, just like the Goddess in my dream. With this mysterious dwarf-like size and face hidden to mortal gaze, he may represent the powers of the Goddess of Transformation
leading Saskia into the world of deceased.
Yet other details suggest a deeper layer in the painting’s hologrammic message. Whereas the “dwarf’s helmet is adorned with a green laurel wreath, a dead dove and a bunch of dried flowers are hanging from Saskia’s belt. It would be too easy to say
that they denote Saskia as being a person who is currently dead. Why then should the black figure of the ‘dwarf ’ who is leading her into the underworld be wearing a wreath of vividly green plants?
Do you remember how tangled were the roles of Sophia and Christ, about which I wrote in the previous Chapter? Is there not a striking similarity between that and the bright presence of Saskia wearing the symbols of death and the dark ‘dwarf’ wearing
the symbol of life?
The dance of Saskia and the Black Dwarf on Rembrandt’s canvas has the same quality of accelerated spin that happens when space turns over, and what was once above finds itself below and what was once outside finds itself currently inside. What then is the prophetic message that the painter-in despair wove into the grandeur of the Night Watch? There must be some such message. Otherwise an unknown man would not have lost his reason a few years ago when in front of the canvas,
attacking the painting and cutting it to pieces with his knife. (this has happened in reality, it’s true)
Nor would I have felt so deeply embarrassed when I dismissed the role of the ‘dwarf ’, blind to its presence at Saskia’s side. Even the soldiers of the Amsterdam night watch company who commissioned the painting recognized that it reveals something else, which is not their group portrait. Let us imagine that the soldiers who figure on the canvas with their armour and guns and their long lines of spears represent the consciousness of the modern human being, endowed with mentality and almost totally controlled by the mind.
It must indeed be threatening to that mental overlay for Saskia to unexpectedly appear below its surface and begin dancing with the Black Dwarf. It transmits the feeling that there is a multidimensional vortex suppressed under the surface of one’s mind, a vortex that might suddenly rise up from within and reveal its tremendous dance of death and life, which humans are not ready to accept.
It is the power of one’s Soul coupled with the powers of the Black Virgin, which causes one to be inspired and scared at the same time.
As I have mentioned already, Saskia appears on the Night Watch canvas as part of a triangle, opposite to a dog that represents the elemental aspect of the human being—the one that connects us to the powers of nature—and at its top, the funny face of the man with the tall hat who represents the outer Self, the Ego.
If the triangular configuration represents the constitution of the rounded-off human being, then the bright figure of Saskia stands for one’s multidimensional Soul. What makes the appearance of Saskia threatening and inspiring at the same time is her way of embodying a kind of accelerated movement that comes into being through the interaction of the individual Soul with the transpersonal (cosmic) power of the ‘Black Dwarf ’, representing the all-transforming impulse of the Black Virgin. Saskia does not merely represent the human soul imprisoned below the surface of the dominant consciousness, but also conveys a message that is highly relevant to this epoch of our evolution.
The details of the painting suggest that Saskia and the ‘Black Virgin’ are holding hands while dancing swiftly among the soldiers, together going in the same direction, away from the spectator. But in the moment of revelation, Saskia turns her head to look in the opposite direction, staring directly into the spectator’s eyes, and the features of her face give an impression of concern and the sense of a warning. Remembering the story of the decapitation of the Gorgon Medusa, you may know what this concern and warning is about. She was telling us that in the near future—which is nowadays our present—the powers of one’s Soul, awakened by the touch of the Black Virgin, will arise in all its cosmic strength from within the individual human being, and from within the human race as well. They will blow the lid off the governing mind structures and set free the suppressed wholeness.
Nobody will be able to hold back the revelation of the Feminine Redeemer, because it will arise in innumerable individuals like a high tide out of the elemental Soul’s sub-conscious space. If a hundred emerging channels were to be filled in by the panicking mind or by threatened institutions, another thousand would appear as unexpected situations came cropping up, both within people’s personal lives and in the midst of the public arena.
Concentrating on the canvas of the Night Watch and keeping in mind all that we have discussed and experienced together throughout this book, we are about to discover a layer of planetary transformation that is basically different from the
process of Earth Changes as we have known them up till now. It is the feminine counterpart of the geomantic process of transformation, which has been transmuting the Earth’s fundamental constitution during the past three years.
According to my geomantic observations, the process of Earth Changes started in February 1998 with a surprising mutation of the planet’s ground radiation. Beforehand, its quality was marked by the dominance of the Element Earth. Step by step, the ruling position was taken over by the Element Air.
In the following Autumn-Winter period powerful archetypal forces were introduced to my awareness. They originally belonged to the depths of the Earth, yet now are manifesting on the planet’s surface. The overwhelming ‘dragon forces’, which know no separation and are heralds of the universal connectedness, started to influence geomantic systems and life processes, cleansing and changing them.
After the solar eclipse of August 11, 1999, the light body of the Earth, its landscapes and places, started to transform, strengthening the all-connecting bonds of the planetary wholeness. Elemental beings, representatives of the
Earth’s consciousness, started to experience an initiation into a level of freedom that was previously unknown to them. Next, those realms of invisible reality that had long been excluded from human awareness began to move closer to us,
seeking to interact with human consciousness again.
These are the voices of the ancestors and other beings from the invisible realms, all of which are picking up volume within the human psyche. Many individuals are about to learn to cautiously integrate the powers of darkness—understanding them as their own shadow—into their daily lives, so that the danger of destructive
conflicts (including wars) shall be overcome in the future.
In consequence, human beings have started to change and transform on all levels of their existence—mainly subconsciously. The process that has been triggered includes a fundamental change in world-view and in the way we relate to nature, as well as changes in our manner of understanding who we are and what is the purpose of life. By the end of April 2000 it seemed to me that planetary transformation was well under way, even if the ongoing process was still mainly unnoticed by the public.
Indeed, the only link in the chain that seemed almost totally missing was the moment of the human race’s awakening to its co-responsibility for the course
of events. During its initial phases the transformation proceeds mainly on the invisible levels, so the population, who have never been trained to perceive the world of the invisible, do not notice its accelerated activity. I compare the phases of the present planetary transformation to the process of the breaking of the Seven Seals described in the Revelation of St. John” (here ends the text of chapter 8)
To end with a few of my own words:
The laws of the desert in modern civilisations clash with the laws of the real desert, in cultures grown from it and still existing in it. I realised how the concept of honour has different faces to both sides of this battle. In our present time, where clashes between individuals, family members, colleagues, friends, and neighbours are more frequent due to a global event called “pandemic” we seem to be confronted with the choice to leave our inner desert of instinctive drives, and reactions, and rise up to the warmth and wisdom of the heart. Although certain forces aim to divide humanity until it begins to self-destruct, life itself is showing us, right now, how building up of unity in diversity is, and can be accomplished. There’s much good in the world, but not so much reported in mainstream media.
Below is an example of Earth-healing work by Marko Pogacnik in Slovenia:
GEOPUNCTURE CIRCLE DEDICATED TO THE SOURCES OF LIFE
positioned in Visoko, close to Sarajevo, Bosnia, standing in the park below the entrance to the Ravne Labyrinth
Marko Pogacnik – The Voice of Art
“My intention as an artist is not to create art objects, but to engage art in life processes of…
…Why art ? Because our present civilization is governed and controlled by the one-sided rational side of thinking, which is leading to into a disaster of..
……The language of art is capable of opening insights into those invisible realms that rational mind is generally ignoring…
………I think at this moment it is most important to stop the permanent war against nature and against Gaia…
………..We need to detach from the old monotheistic imaginary that leads us away from the reality of life…
……………We need to rediscover ourselves as beings as beings of the earthly cosmos, as equals among…
………………My urgent counsel is not to ignore the signs of the epoch of the universal change that is going on right now…
…………………we need to profound our sensitivity to be able to follow the earth transforming process…”
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