“The Vedic Realms” | Into the Mythica

The Books of Fae 2009-11-30 – “The Vedic Realms” “…In search of healing to the imbalance of Fire within me I travel to the lands of Crestone, Colorado. There, I encounter the realms of the Vedic Arts of Ayurveda for the first time and have a new perception of my sense of self in the mortal plane …”

The inner questtion of ‘What am I?’, of the very nature of self itself and my attempt to discover my right-placement in the World was moving through me deeply. Such would prove to be intrinsic to the nature of the healing itself as I was exposed to the impressions of ayurveda, applying those to my elemental inquiry into the nature of being.

Once more, the symbol of the phoenix arrives on the Path, a repeated occurrence in the reflection of the Quest, that of constant transformation and rebirth, rising again and again from the Fire.

Here the agitation I had at the very concept of India, at the idea of submitting oneself to a guru as compared to recognizing one’s own intelligence and forging their way forward began to unravel a bit more, with agitations processing through my form as I sat in the relative quietude of the mountains and the pancha karma.

At last, I arrive in the towne of Crestone, Colorado. It is a mystical place, considered by many to be the crown chakra of Gaia, opposite the Himalayas upon Gaia’s elemental skin. It is a potent place indeed, where 23 or more ashrams and stupas have been constructed upon the ley of the land.

I see it’s majesty. The energy is subtle yet potent, glimmering across the landscape of the Mythica. A place where the surface and subtle planes meet, embodying the landmarks of the real magical world across the skin of Gaia.

It is cold here. Necessary, to cool the Fires raging within my form. Led here by the invitation fo Lady Cedar, this is my first movement into the Vedic realms, and will end up as a place of major movement into my ongoing inquiry as to nature of my self and it’s function within the Earth plane.

The Sands of Remember

Here, I got to share with a trio of young boys the Elphinstone Coat, a real magical item crafted in the elven realms that I was led to while applying the magic of traveling at the Academy of the Ancient Arts.

When I told them the Story, their eyes widened. The energy shifted and opened. I could sense the vibrations changing, anchoring their recognition. For those kids, it was the myth of meeting a genuine mystical adventurer with his wolf on the Path, and being shown a magic item crafted by the Master Shaper of the elf lands.

Here I asked myself the question once more, Why i I built the Mythica? What was the purpose, beyond my own healing, of the Quest?

And here it was.

Despite the agitation I was experiencing on the Quest and the drift across the realms that defined my journey, THIS was my bliss. This was my purposing. The purposing beneath the witnessing of wonder.

Stupas and Sanctuaries

There were many temples and places of potency here. Among them, the Goddess is worshipped, made of places aligned with the flow and function of the land. It is one of my first arrivals into such a realm of the akasha, occuring in the underlands of the Mythica as what it is, a mystical towne nestled within a mountainscape of a dragon’s spine, flush with the energies of Gaia’s pulsing heart.

In the Mythica, I see that this is a realm where seekers travel. Where I am transitioning, going through the journey of healing. Within, I am still feeling burnt and imbalanced in the element of Fire. Come to receive the healing of pancha karma from Lady Cedar and to learn the nature of what is called ‘ayurveda’ in the mortal plane.

Architecture at the Edge of the World

Here I saw the idea of the Mythica arrive once again, the recognition that my path of synchronicities was causing me to arrive in places that existed in their own pocket dimension, worlds within worlds that existed somewhere in time and space. It reminded me of the adventures of Jack and Wolf from “The Talisman” by Stephen King and Peter Straub, and of the travels of King’s “The Gunslinger” with whom I felt a deep and enduring resonance.

The Arts of Ayurveda – Pancha Karma

What comes next is one of the most significant moments on the quest, where through the process of Pancha Karma I come into a new revelation, an understanding of the nature of my self and it’s place and purpose within the material plane.

As I always had been on the journey, I was resolving the difference between my elemental awareness and the forms and approaches of the Commonwealth.

Ayurveda was interesting to me. During my years at the Academy, I had anchored the understanding that all things were made of the primal elements, the natural intelligence of the deva that sang beneath the stones. Here, I witnessed a whole system of alchemy based on the relationship with that liminal aspect.

Listening to Lady Cedar’s tales of her training, a wash of impressions moved across the akasha. As I had encountered so many times, my naivety into the material plane had caused me to assume that all beings shared my relationship with the natural World. Here, in the Ayurvedic texts, the difference became more clear. Beings entered the subtle arts from their current point of reference, and mine lived in the Mythica.

I try to meditate during this time, but it is a useless attempt with my mind feeling constantly hammered by agitations ….

In the 2010 episode “The Vedic Realms” on the quest I had my first encounter with the ayurvedic sciences, which are considered the sister science to those of yogic postures and meditations as a means of harnessing the five basic elements of life to achieve wellness. It was a tumultuous time as I had just left the Academy over a conflict of ethics with my then-former mentor and had traveled to the mountain town of Crestone, CO to receive what was known as a ‘pancha karma’ cleansing from an ayurvedic practitioner that I knew from my time at the Academy. I had gone for the express purpose of balancing and clearing out what I considered to be an elemental imbalance within myself that was manifesting as excess fire, and had followed the signs and synchronicities which had appeared to lead me there.

As part of the process of cleansing, the recommendation for the ayurvedic technique was to limit the consumption of media with the exception of texts and information which related to ayurveda itself. The idea was that the conditions of one’s life were created by the consumption and accumulation of certain vibrational patterns which were present in all forms of life, and that by limiting the accumulation of patterns from certain sources one could reduce the imbalances of the body on a subtle level associated with those sources.

As an avid reader and media creator this was challenging for me, yet I stayed within the boundaries of the form, gatheirng various texts and tomes which related to the science of ayurveda itself in an attempt to better understand where the path had led me and what it’s significance was in the healing of the distortions in my life. As I had considered becoming a doctor of medicine in the early stages of the quest and had taken that to the psychological and mystical levels in my progression through the Academy, I considered the idea that ayurveda could be a way for me to work with the energies of the elements in a more precise manner than I had done in my divinatory and manifestation work and which could lead me into new dimensions of life. It was during this process that I first discovered the ayurvedic idea of perception and it’s various levels of knowing, something that would clarify and define the understanding of my self and it’s circumstance as well as giving me a way of categorizing what I perceived as the assertions of others, and it related to a concept called direct perception.

This was a moment of kairos for me. A significant happening on the timeline of my story which hinted at the larger mythos of my life as it was the first time I encountered a reflection in the outer experience which gave a sense of classification and definition to the vastness of elemental overwhelm that was my everyday perception. More than this, it gave me a sense of distinction in the styles of perception as they were seen from the ayurvedic perspective, allowing me to see that what I was experiencing was what they called “direct perception”, or what in the ayurvedic texts was referred to as “Pratyaksha pramana”.

Yet as validating as this was, it was but one of the jewels I acquired through the contemplation of the texts, the other being the idea of ether being the substratum of existence and the idea that mind itself was made of ethers.

This intrigued me deeply. Ether, or the essence of space (which is also to say akasha) was the missing piece in my sense of the elements as i’d encountered them through the teachings of the Academy. It was the fifth element that gave context to the other four, the quality within which the vibrational ripples that had burdened and blessed me throughout my life existed, and was for me the crucial element in understanding the movement of one’s spiritual and manifest path through life in a spatial way. This tied directly into the divination that came to me from the aina of Lake Tahoe during “Landscapes of Legend” in 2006 and “Return to Eden” in 2011, and which spoke to the fundamental principle of “As Above, So Below – As Within, So Without” and the axis mundi of the self as the genesis point of our manifest conditions.

The parallel to the tenets of the philosophies of magic(k) was fascinating to me, both relating to the primary elements of life and how those arranged into a geometry.

It spoke to an elemental basis for existence itself, something that resonated deeply with my sense of the devic intelligence that made up all the forms in the Creation and who had been my closest allies throughout my childhood and my journeys through what I was beginning to call the “Incarnate” plane in reference to what I felt was our collective point of origin. This revelation deeply affirmed what I had always felt, that our forms were made from the elements themselves, that what we divined through our art and aspiration was made of the elements, and that all things in the Creation were made from the elements in various configurations of themselves.

What am I?

Here my inquiry into the nature of my nature continued as I perused the ayurvedic texts searching for the reason why I was was the way I was.

As I always had been on the journey, I was resolving the difference between my elemental awareness and the forms and approaches of the Commonwealth.

Once more, the symbol of the phoenix arrives on the Path, a repeated occurrence in the reflection of the Quest, that of constant transformation and rebirth, rising again and again from the Fire.

Deva and Demigods – Questions of the self

The question of what I am and why my experience of reality seems so different continue to nag at me. Bending the protocol of only reading Ayurvedic textbooks, I find myself drawn to the Percy Jackson series by Rick Riordan

It had been during “The Vedic Realms” that i’d started to have a grasp on this idea of self beyond envsioning myself as an elemental being more suited to the otherworlds of faerie than to what many referred to as ‘3D reality’, and it had happened during my investigation into the science of ayurveda and reading the Rick Riordan book ‘Percy Jackson and the Lightning Thief’.

It was there, gradually feeling into the impressions in the ethers that were “ayurveda” and it’s assertions, that I considered the idea that I was a demigod, a character in the Great Story serving a similar role to Percy Jackson and the pantheon of characters within Camp Half-Blood and beyond. I considered how I seemed outside or sidestream to the patterns which existed in the world, how i’d made my way in absolute devotion to Story from the streets of New York to the islands, coming to an academy of magic and following the strings of my story to Crestone and the river of ley upon which lay thirty or so ashrams, stupas and holy sites. I was living the mythical life, complete with a perceptual set that struggeld to make sense of the so-called ordinary world, going through a major healing with my sacred wolf in the spine of the dragon. To top that off I was on a Quest in service to a Goddess, fulfilling an intention to be of service to something larger than myself.

More than this, I found myself in a company of beings I perceived in similar status, creatures of Story whose very existence was defined by the living of their own mythology, of commitment to their personal myth.

The book was influential for me, offering a reflection into my contemplations of self identity, for I had more in common with the characters of Reordan universe then I did, with what past as the stories of the people I met on the Earth. There was a sense of familiarity, much like what I encountered when I had read about Thors predicament in the modern world many years earlier. Here, my Sens, that books were portals of remembrance to the vibrational substance of ourselves across the Ages increased, and I wondered was I a demigod in this world? I had already had the sense of self identity as an elemental fee being, and had been in deep contemplation as to the nature of what I was in this plane for my experience was so vastly different.

It was the pattern I found fascinating. While the story itself sparked my inspiration, my sense of the etheric form between the pages was was equally present, the letters are speaking to a truth about the mortal condition that I would gradually realize over the course of my devotion to the goddess of story.

On certain level, it related to my sense of the elements of things, and of the way in which my consciousness interacted with the arts as compared to the fields of sensation that defined many others.

Gaze of Shiva

Visions come to me as I travel through the towne, sensations I will later come to recognize as my consciousness moving through the layers of the land, yet at the time were simply flashes of coherence within a turbulent sky. I see North and I walking through another towne and time, with a sky made of shifting silver threads holding what seems like an infinity of stars.

It was the sense, that the powers of the ancient myths were manifested in the modern forms

In my studies of the Ayurvedic lore, I saw a commonality with the teachings at the Academy, we’re both were defined as elements or forms that underlay, the substance and structure of the self.

Lines of the Dragon

That being said, her words had brought up my contemplations of compassion, of identity, and the movement from Madness & Majesty, for she had brought up my declaration of self as a deva throughout my timeline, part of my explorations into what it meant to BE in the mortal condition.

This had been a real thing, and on ongoing one. With no reference or grasp on the hammering patterns of the world and witnessing myself shifting uncontrollably from one state to another I wondered at the very sense of my identity. At what-I-was-being in the Creation. Such had been a deep dive into my concept-of-self, an attempt to find some reason why my experience seemed so different than that of others in my field.

The idea isn’t so far-fetched when we look at the infinite variety of ways in which our self and it’s story can manifest in the worlds, at the many configurations of the elements of life which make up our selves and their stories. After all, what is the distinction between the many characters which dot our stories? What is the elemental nature of the wizard, the priestess, the faeriekin and the celestial version of ourselves? Are these not the many faces that we wear in the world stage, the pantheon of ego and it’s many expressions that make up the worlds within the wood?

Were we not the characters in each others stories, expressing ourselves through an infinite carousel of shifting skins, playing our parts in the many threads of the Great Story? What was the purpose of the self? What was it’s definiiton? Why did the story of separation exist in the first place?

Meeting the Grandfather

As part of the Pancha Karma prescription, Igo to a peyote gathering, where I feel hammered by the practices of the ritual and the drum, and need to go outside, to feel into the resonance of the wolf and the wilde before returning to the crucible.

It is so pleasant to be around North. To be in the resonance of his natural majesty, away from the hammering drum-rhythm and the chattering thoughts of the people and their resolving vibrations. While I recognize and can feel the structure of their ceremony and the ideal of maintaining the container my sovereignty takes precedence and like my walk into the darkness of the jungle during “Pacha Mama” I leave the teepee to find sanctuary and solace with the purity of brother wolf.

A day after the ceremony I am still recovering, still feeling the reverberations of the peyote moving through my system. A hot spring lay nearby where I may cool off my nervous system, one flush with the presence of bats, classically considered a totem of rebirth.

The Water is so soothing. So balancing to the Fire that burns inside of me, cooling the edges of what was risen and cleared during the peyote ceremony. As I settle, feeling my awareness crystallizing into a new form, I see a pattern of light on the water, recognizing it’s configuration as an angelic deva, showing me the more clarified version of my own chakras.

Afterwards, he travels to the realm of the Bats and the Water, and cools himself down with the Water deva, while witnessing and receiving the voice of the angelic deva of light.

Something healed in me there. Something related to the Ley lines within and without. I could feel it, moving through my system, made of the elements themselves and the clarity I had gained through the ritual.