Saturday, September 30, 2017

Lucy Contemplating a Crime.......

Lucy as Feline Bodhissatva Contemplating Enlightenment and Other  Delicious Birds

(photos thanks to Madeleine Charron)

Wednesday, September 27, 2017

John Barleycorn Must Die

John Barleycorn Must Die is a traditional English song - records of its origins go back as far as the 1300s, and it is probably much older than that.    Over time, many variations have arisen, and the Scottish poet Robert Burns wrote his own famous version of the story of John Barleycorn. In the 70's, John Renbourne, Traffic, and Steel Eye Span popularized the song, along with many other  folk artists of the time.  John Barleycorn is a very ancient, prime myth indeed  - the Great King who is sacrificed, dies and is reborn in the spring as the wheel of the year's agricultural cycle turns. In many pre-Christian cultures, this motif is found as the Sumarian God Dumuzi, the Shepherd husband of the Goddess Inanna who goes into the underworld for part of the year, and returns to her in the Spring.  The same idea of the  dying and reborn King is found with the Egyptian Osiris, who is reborn in his son,  the Sun God Horus.

John Barleycorn is the personification of the grain, and the life of the grain from planting to harvest, transformation into beer, and then sowing.  After Barleycorn’s first death he is buried, and laid within the ground.  In midsummer he grows a “long golden beard” and “becomes a man”.  The songs of John Barleycorn go on on to describe threshing and harvesting. Barleycorn is bailed and taken to the barn. And then the grain is parceled out. Some is taken to the miller to make flour for bread. And some is saved and brewed in a vat to make ale. And some is planted, so that the whole cycle can begin again.   It is likely that versions of John Barleycorn songs go back to pre-Christian times, the accompaniment of  harvest rituals at Lughnasash, in August, or Mabon, the Autumnal Equinox

Some of these rituals survive to this day in modified form, most famously the sacrifice of the wicker man. These rituals tell the story of the death and eventual  rebirth of the god of the grain."*

  Photo with thanks to  Avalon Revisited

It might be noted that John Barleycorn is, in particular, also a God of Ecstasy - because he provides celebration and ecstasy as the barley becomes the source of beer and the beloved malt whiskey of the Highlands. He shared a style not  unlike the more Mediteranean temperment of Bacchus,  the  Roman God of wine.   The malting and fermentation  of the grains that form his body is also a part of his "life cycle" and divinity. Perhaps one of the most famous "ecstatic"  manifestations of the Wicker Man, his rituals of sacrifice, rebirth, and  celebration is Burning Man, the "harvest" festival that happens in Nevada every fall

It's interesting that in Robert Burn's poem, there are "three kings", similar to the kings from the east in the Nativity story.  Early Christians who came to the British Isles (and elsewhere) often absorbed native pagan mythologies and traditional rituals into Christian theology, and the evolution of the Story of Christ is full of such imagery in order to help the natives accept Christianity. Certainly John Barleycorn shares with the Christ Story the ancient theme of the death and rebirth of the sacrificed agricultural King. 

I am a great admirer of the wisdom traditions of Gnostic and esoteric Christianity, but I also believe it is necessary to separate the spiritual teachings of Christianity from  the mingling (and  literalization) of earlier  mythologies  in the development of the Church.  For example, I believe the metaphor used to describe Jesus as the "Lamb of God" directly relates to Biblical practices prevalent in his lifetime  of sacrifice of lambs and goats to Yahwah.  The later development of  the doctrine that Christ   "died for our sins",   may have some of its origins in the important, and quite ancient,  Semitic Scapegoat Rituals.  But observing recently a Catholic "Communion" ritual ("This is my Body, This is my Blood") I was impressed by the many layers of mythologies and archaic cultures inherant in that ceremony, still important to so many people today.  And one of those threads may very well originate in the prime agricultural myth of  the dying and reborn God, a long tradition from which John Barleycorn dies now at Harvest, and arises re-born  every spring.

John Barleycorn
by Robert Burns

There was three kings into the east,
Three kings both great and high,
And they hae sworn a solemn oath
John Barleycorn should die.
They took a plough and plough'd him down,
Put clods upon his head,
And they hae sworn a solemn oath
John Barleycorn was dead.

But the cheerful Spring came kindly on,
And show'rs began to fall;
John Barleycorn got up again,
And sore surpris'd them all.
The sultry suns of Summer came,
And he grew thick and strong,
His head weel arm'd wi' pointed spears,
That no one should him wrong.
The sober Autumn enter'd mild,
When he grew wan and pale;
His bending joints and drooping head
Show'd he began to fail.
His coulour sicken'd more and more,
He faded into age;
And then his enemies began
To show their deadly rage.
They've taen a weapon, long and sharp,
And cut him by the knee;
Then ty'd him fast upon a cart,
Like a rogue for forgerie.
They laid him down upon his back,
And cudgell'd him full sore;
They hung him up before the storm,
And turn'd him o'er and o'er.
They filled up a darksome pit
With water to the brim,
They heaved in John Barleycorn,
There let him sink or swim.
They laid him out upon the floor,
To work him farther woe,
And still, as signs of life appear'd,
They toss'd him to and fro.
They wasted, o'er a scorching flame,
The marrow of his bones;
But a Miller us'd him worst of all,
For he crush'd him between two stones.
And they hae taen his very heart's blood,
And drank it round and round;
And still the more and more they drank,
Their joy did more abound.
John Barleycorn was a hero bold,
Of noble enterprise,
For if you do but taste his blood,
'Twill make your courage rise.
'Twill make a man forget his woe;
'Twill heighten all his joy:
'Twill make the widow's heart to sing,
Tho' the tear were in her eye.
Then let us toast John Barleycorn,
Each man a glass in hand;
And may his great posterity
Ne'er fail in old Scotland!

And last, and so appropriate for the Harvest Time of Mabon, Steeleye Span's JOHN BARLEYCORN MUST DIE.

For more readings:  Thought Co on John Barleycorn:

Saturday, September 23, 2017

One Day Mask Portrait Workshops $50 with Lauren Raine

 Make your own Portrait in Clay

In this fun one day workshop you'll learn how to cast your face to make a beautiful Self-Portrait sculpture in special air-dry clay....which you'll be taking home with you.  We'll also share lunch and conversation.   $50.00 (includes materials)  
10:00  am to 4:00 pm  Every SECOND SATURDAY of each month beginning in November 2017.  Class is limited to 5 people.

Workshops on
 Nov. 11, Dec. 9,   Jan. 13,  Feb. 10,
 March 10,  April 14

To enroll, please contact, or call (520) 609-4904. 
A $25.00 non-refundable deposit is required to hold your place. 

Location:  CIRCLE STUDIO in Central Tucson

Instructor:  Lauren Raine MFA has been a mask artist for over 30 years and has taught at the Sedona Arts Center, Pima College, the Peters Valley Craft Center, Kripalu, and the Tucson Clay Co-op.  To learn more about her work:

Monday, September 18, 2017

Nancy Wood, Poet of the Earth

Recently I re-discovered the New Mexico poet and photographer   Nancy Wood, who passed away in 2013.  Nancy Wood found a deep sense of spiritual  belonging in nature among the natives peoples of New Mexico, and much of her poetry is a celebration of that belonging.  I've always found comfort and a return to Balance when when I return to her poems, and copy a few here for my own great pleasure.

Hold on to what is good

even if it is 
a handful of earth.
Hold on to what you believe
even if it is
a tree which stands by itself.
Hold on to what you must do
even if it is
a long way from here.
Hold on to life even when
it is easier letting go.
Hold on to my hand even when
I have gone away from you.

From Hollering Sun (1972)

Blue lake of life from which flows everything good.

We rejoice with the spirits beneath your waters.
The lake and the earth and the sky
Are all around us.
The voices of many gods
Are all within us.
We are now as one with rock and tree
As one with eagle and crow
As one with deer and coyote
As one with all things
That have been placed here by the Great Spirit.
The sun that shines upon us
The wind that wipes our faces clean of fear
The stars that guide us on this journey
To our blue lake of life
We rejoice with you.

In beauty it is begun.
In beauty it is begun.
In peace it is finished.
In peace it shall never end.

My help is in the mountain

Where I take myself to heal
The earthly wounds
That people give to me.
I find a rock with sun on it
And a stream where the water runs gentle
And the trees which one by one
give me company.
So must I stay for a long time
Until I have grown from the rock
And the stream is running through me
And I cannot tell myself from one tall tree.
Then I know that nothing touches me
Nor makes me run away.
My help is in the mountain
That I take away with me.

From War Cry on a Prayer Feather, 1979

Earth teach me stillness

As the grasses are stilled with light.
Earth teach me suffering
As old stones suffer with memory.
Earth teach me humility
As blossoms are humble with beginning.
Earth teach me caring
As the mother who secures her young.
Earth teach me courage
As the tree which stands all alone.
Earth teach me limitation
As the ant who crawls on the ground.
Earth teach me freedom
As the eagle who soars in the sky.
Earth teach me resignation
As the leaves which die in the fall.
Earth teach me regeneration
As the seed which rises in spring.
Earth teach me to forget myself
As melted snow forgets its life.
Earth teach me to remember kindness
As dry fields weep with rain.

from Hollering Sun, 1972

Saturday, September 16, 2017

The Difference between Dogs and Cats

There's a big difference between the intelligent  existentialism of a cat like, say, Henri below, and the mysterious minds of dogs.  I'm definately a cat person, but I have to admit, Jesse the Jack Russell Terrier would come in handy.  Jesse lives to serve.  Henri, on the other hand, would consider  running for office, were he not so disillusioned by life.

Thursday, September 14, 2017

David Whyte on visible and invisible support

Thursday, December 8, 2016 - 4:28 pm

“Working Together”

We shape our self
 to fit this world

and by the world
 are shaped again.

The visible
 and the invisible

working together
 in common cause,

to produce
 the miraculous.

I am thinking of the way
 the intangible air

traveled at speed
 round a shaped wing

 holds our weight.

So may we, in this life

to those elements
 we have yet to see

or imagine,
 and look for the true

shape of our own self,
 by forming it well

to the great
 intangibles about us.

from David Whyte’s collection of poetry, River Flow: New and Selected Poems. For more poetry, visit On Being's  Poetry Radio Project.

To hear "Everything is Waiting for You" as well:

Tuesday, September 12, 2017

Medicine Baskets

A Medicine Basket is a container, woven of many strands,  for healing.

I seem to be having a long case of "writers block" (good thing I'm a visual artist and never seem to run out of images).  I'm hoping that anyone who may be reading this blog is not annoyed to discover me doing this.  Recently at Open Studios  I got into a discussion about this mask.  The mask was  involved in a dream the woman who performed it had - what is interesting is that I made the mask before she had the dream!  But we have done this before, and it illustrates the "seamlessness" of creativity.  I called the mask the "Medicine Basket Mask" and subtitled it "Gather and Offer" because of a poem that was given to me by a workshop participant at Kripalu in 2008.  

"Medicine Basket" is such a wonderful term, and embodies the archetypes of  WEAVING,  VESSELS FOR HEALING created from many threads.  I return to the work of Cherokee artist   Shan Goshorn,  as she is a weaver of contemporary   medicine baskets  which she makes in traditional designs and techniques  They are woven from the words of broken contracts, and the names and photos of children taken from their families and forced to attend boarding schools. “Educational Genocide – The Legacy of the Carlisle Indian Boarding School” was created with a Cherokee-style double weave, and was made from splints of paper that had student’s names and historical documents and photographs. The artist  weaves together the broken threads of the past to create healing baskets that re-member and re-join.

When I made the mask for my friend Mana Youngbear, she told me that she had dreamed it!  My friend saw in her dream a woman wearing a mask that was a basket, the face emerging from the fibers of the basket.  This image had meaning for me on many levels.  A Medicine Basket is a container, woven of many strands, meant to store or provide forces for healing, understanding, consensus, and offering to the divine, the "greater pattern".   We can create  baskets, sacred containers for  healing or empowerment or memory - the "medicine"  that is needed at a given time, place, for a particular person, or a collective "weaving of the energies" . We are also "baskets" ourselves, our intentions and histories woven into the container of our  lives, and those threads have been woven into the lives of everyone else we've ever known as well.  

"Tse Che Nako, Thought Woman, Weaving the World with the Stories She Dreams" (2008)

Now, as everything seems to be unravelling in a world we've made the mistake of taking for granted,  I feel the compulsion to make a new "Medicine Basket Mask".  The mask I have in mind has an open mouth - it will be less passive and in "dreamtime" as the one above.  This one will speak the weaving, the medicine.  The time for being merely receptive is past, now is the time for us to act, to become "the medicine".   

"Basket Mask" by Ilana Stein (2008)
Another mask came to mind, as I thought of woven personae......that of Ilana Stein, which she called "Gathering and Offering" from the poem she made for her mask when I taught at the Kripalu Institute.  Ilana was a well known midwife from New York, and the mask, and the poem, she made shortly before she died of cancer in 2008.  That is a remarkable story here are excerpts from the poem, and her mask, again.  Those things that move me, they remain embedded within my creative source, and they keep coming forward when the time is right.   I am always amazed at the treasures I've been given as blessings,  and questions,  when I look back.  

May each of us, in these crucial times, make strong Baskets with all our communities, our friends, our inner sanctuaries.  May we  Become strong Baskets.

Gather and Offer
by Ilana Stein

Gather towards the North
Gather towards the South
Gather towards the East
Gather Above, gather below

and gather the great Mystery

Gather what you’ve studied
Gather what you’ve learned
Gather how you’ve lived,
and gather what you’ve earned.
Gather what you’ve loved
Gather what you’ve lost.
Gather what you’ve soiled
and gather what it’s cost
Gather what you’ve wasted
and gather what you’ve saved

Gather who your friends are
and gather how they’ve cared
Gather your relations and  how you’ve fared
Then Gather birth and celebrate,
Gather death and cry
Gather hope, regret and longing and
gather up the why

Gather up the waiting, gather struggles,
Gather all the goals you’ve met and
gather up the bravery
Gather faceless fear and all the broken promises. Gather yesterday today,
and gather time tomorrow

Gather what you’ve ruined
and gather when you’ve failed.
Gather up the personal, gather up the frail
Gather up the culture, gather up the myths
Gather all the songs you’ve sung,
and all expressive art
Gather dances,  gather dreams,
and gather up your heart

Gather in the garden, 

Gather at the beach.
Gather on the mountain, 

Gather what’s in reach
Gather in the workplace, 

Gather on the roads
Gather in the home you’ve made

and gather all your kin
Gather your impatience, your frustration and your greed.
Gather up the words you’ve said,
Gather what you need.

Gather up your journey and all
 the time you’ve spent
Gather up your courage and walk inside your tent.
Gather up your secrets
and gather up your wisdom
Gather what you’ve forgotten
Gather what you’ve meant.

Gather faith and reverence
Gather truth and and gather lies
Gather secrets great and small -
Gather wisdom of the ages
and wrap them all  in your shawl
Gather sickness, gather health,

Gather tenderness and rage
Gather all your stories
Gather on the stage

Gather up your gatherings,

stir the basket’s bounty
Gather all remaining threads
and search across the county:

Then offer up your gatherings

to all nations and creations

Offer to your children and offer to your kin
Offer to the hungry, the needy and the grim
Offer to the blessed and offer to the prim
Offer to the kings and queens
Offer to the beggars and the paupers,
Offer to the jesters and 

Offer to the priestesses

Offer to the birds, chipmunks and the deer
Offer to the badger, mole, the frogs,
and o yes the bear
Offer to the green spring shoots,
the white and yellow crocus
Offer to the budding trees
the bushes and the rushes

Offer to the sand and mud,
the concrete and the buildings
Offer to the cook and maid
the seamstress and the butler
Offer to the farmers, offer to the farm
Offer to the doctors and offer for no harm

Offer to the visionaries,  offer to the artists
Offer to the frightened, offer to the scared
Offer to those endangered

 and to the unprepared
Offer to the hurting, offer to be healed,
Offer to your neighbor and offer to the field

Offer grace,  offer peace,  offer possibility
Offer privilege,  trust,  and faith
Offer gratitude, wonderment and awe
Offer loving kindness

Offer up your story

Offer honor and integrity
Offer for community

Offer your vulnerability

Offer what you’ve learned
Offer what you have
Offer what you know
Offer what you’ve shared
Offer both your ears,
your shoulders and your tears
Offer all you’ve gathered, 

offer all your cares.

You’ve gathered through the springtime,
the summer and the fall.

Now rest and build your strength up.
Cycle with the moon.
Cycle through the mystery time.
Close your eyes and sleep.

Dream the dreams of where you’ve been.
Dream of where you’re going –
Then gather.


Sunday, September 10, 2017

"Racing to the Precipice" - Noam Chomsky

Not easy to listen to, but brilliant observation of where we may be heading, by one of America's most significant intellectuals. These days I am unable to separate the political from the personal, or for that matter, from the spiritual. They are all interconnected.

Sunday, September 3, 2017

Asherah and the Tree of Life

A relief from the palace of Ashurnasirpal II (883-859 BC) showing an Asherah Tree with male figures holding anointing oils.  The winged figure over the tree is interesting, suggesting to some the "winged Isis", or a precursor to the Holy Spirit, the third member of the Christian "trinity".

 One of the great things about making art, one discovers, is that it's a way of "writing down" one's inner "iconography".  Most of the time, it's a way of just beginning to see (literally) what that iconography of the inner self actually is.  And then the conversation can begin, because the language is being  translated............

For many years I've made  "tree of life" images.  I'm not sure where I got the image from originally.   In early lithographs there was always a woman within the tree form, or the Tree was a backdrop to everything else in the painting (not unlike the Web motif I also became fascinated by in later "Spider Woman"  pieces).  In my 1993 "Lovers" card from the Tarot, or the 1986 lithograph "Axis Mundi" the "tree" is ubiquitious, and later I started making sculptural  torsos, the Mother within the Tree. 

Recently I had reason to learn about  Asherah, the ancient Mother Goddess associated with the early Hebrews and early (pre-monotheistic) Judaism, with  the neighboring  Canaanites, and even earlier origins.  I have not studied this Goddess much, being only vaguely aware of the name.  Asherah  was often represented as a tree, among them the ubiquitous  "Asherah poles" (ashirim)  associated with Her worship in early (pre-monotheistic) Judaism. *** There is evidence that these wooden icons, and possibly, actual trees intentionally planted as icons or shrines)  were meant to be representations of Asherah.  Asherah is  sometimes  referred to as the wife of Yahweh,  whose name became something that could not be uttered, only represented as "the Lord".  The Asherah poles, and eventually the name of Asherah, were banned from worship as Judaism became monotheistic and established the sole deity as male.

Interestingly, with the early advent of Gnostic Christianity, Asherah is perhaps re-born in the form of Sophia, the feminine face of deity, often called the "mother" or sometimes "wife" of Yaweh.  The emblem for Sophia was often a dove.   

I never would have associated the Tree of Life archetype,  which has been a part of my spiritual vocabulary for more years than I remember,  with  Asherah had I not investigated just recently  because of a visionary experience during a healing session.  

I had some energy work done last week with an alternative  healer. Not unlike Reiki practitioners, although her system had a different name, she worked with me for over an hour, helping me to enter into an altered state of consciousness, kind of like a meditation, while she, in channelling energy to work with me, also entered into an open, meditative  state.   As I closed my eyes, the session began for me with the appearance of a white dove that visually manifested right  before my (closed) eyes.  But not a literal kind of bird, more like a sacred emblem, what one might see in a church.   I immediately thought of the "Dove of Sophia",  which is of course associated with  Peace to this day. And as a Christian icon representing the Holy Spirit, it may very well be that the origins of the Dove go all the way back to Gnosticism and Sophia. 

Who, like Asherah, was removed from patriarchal monotheistic theology, Her symbols often co-opted to support the later mythos of a strictly male deity without a wife, mother, or, for that matter, a daughter either.

The healer, after the session was over, told me that she clearly saw a Goddess form present during the healing.  She said that the Lady put  a kind of crown or headpiece on my head that was "light filled", and she also cast a kind of  "net of stars" over me (which perhaps means protection (?)     The healer, who is not much familiar with Goddess archetypes,  said that the name she got was "Ashara".  She also mentioned that somehow trees or wood were associated.  I couldn't think of what that meant, until I looked it up on the Internet later, and then (of course!) discovered the Hebrew Goddess  "Asherah".   

I've felt  this year is about healing for me,  healing the family karma which means understanding  familial wounds and changing them into (hopefully) wisdom instead of re-action.  I think this year, with so much chaos and divisiveness in the world as well, has been about the  difficult and disturbing rite of passage of becoming a Saga, an old woman.  A hopeful thought is that, perhaps, this is what is also going on a bit collectively.  Rites of passage, in my experience, are never particularly easy or comfortable, cozy or even predictable.  They are thresholds.

And how is it possible to talk of healing the wounds that are "personal" without seeing that they are also interwoven with what is universal?  Familial abuse is about social abuse as well as the long reach of ancestors, going back, going forward.  Roots.  And beyond that....... the Tree of Life, the roots beneath,  the leaves above.   All things woven.  

Visions, like dreams, have multiple layers of meaning, and like dreams, exist outside of time.  In my experience Spirit communicates in visionary, symbolic, mythic ways.  This visioning was a blessing for me, and something I will continue to contemplate and ask to understand.  

"Asherah" (Artist unknown)



Asherah pole

From Wikipedia, the free encyclopedia

An "Asherah pole" is a sacred tree or pole that stood near Canaanite religious locations to honor the Ugaritic mother-goddess Asherah, consort of El. The relation of the literary references to an asherah and archaeological finds of Judaean pillar-figurines has engendered a literature of debate.  The asherim were  objects related to the worship of the fertility goddess Asherah, the consort of either Ba'al or, as inscriptions from Kuntillet ‘Ajrud and Khirbet el-Qom attest, Yahweh, and thus objects of contention among competing cults. 

In translations that render the Hebrew asherim into English as "Asherah poles," the insertion of "pole" begs the question by setting up unwarranted expectations for such a wooden object: "we are never told exactly what it was", observes John Day.[4] 

Though there was certainly a movement against goddess-worship at the Jerusalem Temple in the time of King Josiah, (2 Chronicles 34:3) it did not long survive his reign, as the following four kings "did what was evil in the eyes of Yahweh" (2 Kings 23:32, 37; 24:9, 19)[citation needed]. Further exhortations came from Jeremiah. The traditional interpretation of the Biblical text is that the Israelites imported pagan elements such as the Asherah poles from the surrounding Canaanites. In light of archeological finds, however, modern scholars now theorize that the Israelite folk religion was Canaanite in its inception and always polytheistic, and it was the prophets and priests who denounced the Asherah poles who were the innovators (of monotheism with an exclusive male god).

Asherim are mentioned in the Hebrew Bible in the books of Exodus, Deuteronomy, Judges, the Books of Kings, the second Book of Chronicles, and the books of Isaiah, Jeremiah, and Micah. The term often appears as merely אשרה, (Asherah) referred to as "groves" in the King James Version, which follows the Septuagint rendering as ἄλσος, pl. ἄλση, and the Vulgate lucus, and "poles" in the New Revised Standard Version; no word that may be translated as "poles" appears in the text. Scholars have indicated, however, that the plural use of the term (English "Asherahs", translating Hebrew Asherim or Asherot) provides ample evidence that reference is being made to objects of worship rather than a transcendent figure.

The Hebrew Bible suggests that the poles were made of wood. In the sixth chapter of the Book of Judges, God is recorded as instructing the Israelite judge Gideon to cut down an Asherah pole that was next to an altar to Baal. The wood was to be used for a burnt offering.

Deuteronomy 16:21 states that YHWH (rendered as "the Lord") hated Asherim whether rendered as poles: "Do not set up any [wooden] Asherah [pole] beside the altar you build to the Lord your God" or as living trees: "You shall not plant any tree as an Asherah beside the altar of the Lord your God which you shall make". That Asherahs were not always living trees is shown in 1 Kings 14:23: "their asherim, beside every luxuriant tree".  However, the record indicates that the Jewish people often departed from this ideal. For example, King Manasseh placed an Asherah pole in the Holy Temple (2 Kings 21:7). King Josiah's reforms in the late 7th century BC included the destruction of many Asherah poles (2 Kings 23:14).

Exodus 34:13 states: "Break down their altars, smash their sacred stones and cut down their Asherim [Asherah poles]."  Some biblical archaeologists have suggested that until the 6th century BC the Israelite peoples had household shrines, or at least figurines, of Asherah, which are strikingly common in the archaeological remains.

Raphael Patai identified the pillar figurines with Asherah in The Hebrew Goddess.

Saturday, September 2, 2017

Re-visiting the Bosnian Pyramid Mystery

Take a look at the picture above.  It really does speak for itself.

In 2011 when I went to the Glastonbury Symposium, I was blown away by learning about the work of  Sam Semir Osmanagic, the visionary amateur archeologist who is attempting to excavate what he believes is a pyramid complex in Bosnia with the help of volunteers and not much help from the established archeological community.   I very greatly admire Dr. Osmanagic's dedication and vision, and have been rather disgusted by the way, as so often happens, he has been pooh-poohed and called a fraud by many.   I love Wikipedia, but their dismissal of his work is very disappointing and I think reflects a prejudice, if not, as in the case of crop circles and UFO's, a systematic dis-information agenda.  

Why?  Why not take  serious look at some of the extraordinary things he has found, the ideas he proposes?   The fact is, if he's right,  this is the highest pyramid in the world, and the complex is 10,000 + years old.  Such a discovery would re-write what we think we know about the ancient world, and what we think we  know about ancient Europe.  It would also suggest that, just as has been so often proposed by researchers exploring the pyramids of Egypt,  that the ancients knew a lot about how to work with the inherant energies of our planet than we do.  It might even demonstrate that we know virtually nothing about how to work with the energies of our planet any longer, a knowledge that, if re-discovered, just might  change our entire understanding of life on Earth and how to live on our beautiful Mother Earth.

One of the developments I found fascinating was the discovery of a  concrete/cement building  material that was used to construct the (as yet unproven) pyramids.  This could mean that not only were the ancients creating intentional geomantic environments that were sacred landscapes***, but they had building technologies some 10,000  years ago or longer that included making cement, and apparently, very good cement.

From  The Invisible but Vital Life Energies of the Bosnian Pyramid Valley:
Stone terrace made from sandstone plates on top of the Bosnian "Pyramid of the Moon", September 2008  More photos:
 "Results released by the Polytechnic University of Turin, Italy of chemical and diffractometry laboratory analysis done on sandstone and conglomerate blocks taken from the Bosnian Pyramid of the Sun show that the samples are an inert material with a binding, similar to that found in ancient Roman concrete. These results were confirmed by analysis on the samples done at the University of Zenica,Bosnia-Herzegovina.
In a separate independent test, Professor Joseph Davidovits,  member of the International Association of Egyptologists and author confirms this claim. “I performed electron microscopic analysis of the sample and I propose the geopolymer chemistry that was used to make this is ancient concrete,”
He further adds that the sample is composed of “a calcium/potassium-based geopolymer cement and that although he cannot date the sample, he can discern that it is not modern concrete, but more like the technique used by the Egyptians 3500 years ago.” In his book "The Pyramids: an Enigma Solved" ,Davidovits proposes that Egyptian pyramids were constructed using agglomerated stone (limestone cast like concrete)."
Outside walls of the Bosnian "Pyramid of the Sun" made of the concrete conglomerate blocks, Northern side, July 2008
Christopher Dunn, author of The Giza Power Plant (1996) writes that the pyramids were "ancient energy machines" or power sources that channelled geo-magnetic energy, which is currently a popular theory among researchers. The pyramids of Bosnia have the same elements that define the structure of an ancient "power generator system."

What do we really know?  What knowledge might we have lost?  Fascinating to speculate.  Atlantis rising..........

***A great Blog that follows the Bosnian Pyramids excavation, as well as discussion on related themes is Old Europe   (  Here I've copied from an article:

"In ancient times architecture was considered not only a creation of form to limit or define space, but also inherently a sacred form that concentrated beneficial earth and cosmic energies and dispersed harmful earth and cosmic energies. The subtle energies of earth and cosmos were taken very seriously in the spiritually advanced societies of the past. The ancients were conscious that certain architectural features transformed invisible energetic fields that exercise subtle but predictable influences on the human body and on the environment.

In spite of our scientific progress in the modern day, we still know very little, in comparison to the ancients, about the relation of forms both natural and artificial to subtle and invisible but potent energies from earth and sky. Since 2006, researchers from many different disciplines have visited the Bosnian Pyramid Valley. These researchers have made pioneering discoveries that have allowed us to dramatically expand our modern understanding of the nature and purpose of the Bosnian pyramids and pyramid structures across the planet. A two-year study performed by biologist Dr. Sulejman Redžić from the Faculty for Natural Sciences at the University of Sarajevo, Bosnia-Herzegovina, has shown that the soil temperature on the Bosnian pyramids and nearby areas is 5 degrees Celsius warmer than elsewhere in Bosnia.
Astonishingly, Dr. Redžić was able to identify several plant species on the pyramids that are typical of warmer Mediterranean climate zones. This means that these ancient pyramid structures create an artificial microclimate in the Visoko Valley. U.K. scientist Dr. Harry Oldfield developed a photographic method similar to Kirlian photography that captures the "shapes" of electromagnetic energy in a two-dimensional photograph.

Images: rising energy fields of the Bosnian pyramids
Dr. Oldfield's photos of the Bosnian Pyramid of the Sun showed that the electromagnetic fields above the pyramids are oriented toward the vertical rather than the horizontal. This is unusual because the electromagnetic patterns above natural features such as hills and mountains are normally vertically oriented. Vertically oriented electromagnetic fields are characteristic of artificial (manmade) structures. In addition, Dr. Oldfield recorded more activity than expected, with strong electromagnetic fields above the Bosnian Pyramid of The Sun.
Corroborating Dr. Oldfield's findings, Dr. Slobodan Mizdrak, a physicist from Zagreb, Croatia, led a team of experts who measured both electromagnetic radiation in the Bosnian pyramid complex in 2010 and 2012. The team also measured an unusual 28 kHz ultrasound phenomenon exiting the top of the Bosnian Pyramid of the Sun. A two-day experiment in April 2012 demonstrated that the source of the ultrasound "energy beam" is beneath the pyramid at a depth of 2440 metres (1.86 miles). Analysis of collected data has shown that a metallic plate located deep under the pyramid in combination with underground water flows and unexpectedly high concentrations of negative ions generates electric power of more than 10 kilowatts. 
Image: artistic reconstruction of the Central Fire
The presence of high concentrations of negative ions has also been detected also in other locations of the valley, namely inside Ravne tunnel labyrinth. Different measurements performed during the past six years have shown a tremendous increase in negative ions inside the tunnel system, reaching levels of up to 40,000 ions per cubic centimeter 200 meters inside the tunnel system. Negative ions are atoms or molecules that have more electrons than protons in their nuclei. Series of analyses in the last 120 years have proven that negative ions clean the air of dust, spores, mold and pollen and provide numerous health benefits to human beings. Thousands of people who have visited the underground tunnel labyrinth during the past six years have been able to experience the healing power of this negative ion-rich location.  
Janez Pelko, a Slovenia researcher who studied the effects on the human aura of a short stay in Ravne tunnel labyrinth, demonstrated that the human aura increases and reconstitutes itself significantly in almost 80% of cases among people after a one-hour stay inside the tunnel labyrinth. Janez Pelko's research is mainly inspired by the work of Prof. Konstantin G. Korotkov, a renown Russian scientist who invented the Gas Discharge Visualization technique (GDV), which represents a breakthrough beyond Kirlian photography, allowing direct, real-time viewing of human energy fields.

Thus we come to the conclusion that ancient cultures had developed an understanding of the subtle effects of various invisible life energies and created structures to both generate and magnify them."

February 21, 2013, The Invisible but Vital Life Energies of the Bosnian Pyramid Valley