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The awaited return of the most obvious seasonal signal
The "brilliant" sectors of the sky
An assembly of sacred images

Figures portrayed
by stars in the night,
by nature "dramatic" figures

Why make reference to
seasonal stars.
Measuring time in "moons"

When lunar imagery is combined
with stellar imagery to compose a "mythical cinema"

The human condition
and its development
in the collective memory


French version


Moon and the weather, Thunderstorm:
Controlling celestial electricity,
Image of the feline and image of the Serpent-Dragon

Observations of the Moon and its various forms formerly played a major role - unimaginable to us today - in forecasting the weather and weather disturbances. The lunar power was universally considered as the "regulator" (MT : Medea, Medusa) of the flashing and roaring energy loosed by a Thunderstorm. This terrifying celestial opera of water and fire with its combination of fertile rains and destructive flames, is universally present in ancient human thought… in the idea that divine powers are "scolding" the inhabitants of the Earth.

The eruption of celestial electricity, perceived as a force governing both Life and Death, finds its symbol in the same animal image, namely the feline.

The wildcat, panther, leopard, jaguar, lion, tiger, are all nocturnal hunters, predators that devour and are rarely devoured, incomparably lithe and supple, making unexpected leaps. Felines have an "electric" pelage and phosphorescent eyes, whose pupils shrink into the Moon’s crescent. They are both tender and cruel. Their sexuality is linked to the Moon. They appear universally as the very image of the heavens’ creative-destructive energy incarnated in an earthly creature.

In Mesopotamia this symbolism condenses into a fairly readable ideographic form: the Mesopotamian seals show earthly animals linked by a long sinuous neck to the head of an aerial lioness. The sacred image of "imgid", typical icon often made of gold and pale blue lapis lazuli, features the celestial character of this same lioness head but with the body of an eagle.

The control exercised by lunar power on the currents of the energy of Life and Death (combat or friendship) is portrayed in innumerable images: Artemis with the lion, Gorgon with lionesses, Herakles with the lion, Dionysus with the Leopard, Gilgamesh with the lion, Shiva with the Tiger, the strange Pierrot-style Clown of Nazca with his Jaguar…

Energie céleste

Jaguar Nazca

This companionship of the Pierrot-style Clown and the Cat, which Egypt has clearly made into a marriage: Ptah the "Beautiful Face" with the cap of invisibility and his radiant neckpiece, is the husband of Sekmet, the formidable lioness (who, throughout the centuries, evoles into the more gentle, dancing Bastet, the female cat beloved by the Egyptians).

Once again Egypt was the instigator of the most remarkable ideogram arising from these concepts, one which has had a major impact. Its name came down to us from the Greeks: the Sphinx. It appears to evoke a series stretching to infinity, the constantly renewed binding together of cycles (Nk, Ankh, nexus, knot, neck, the point of attachment ), the lunar cycle that brings with it vital force. This intangible binding of cycles provides mankind with a comforting sense of "Eternal Life", even though every individual knows that he or she is mortal. When the Theban myth (Oedipus) permits the Sphinx to express itself, we are supposed to hear an "enigma", but there is nothing very enigmatic about it. Vital energy is called up and that inescapably leads the individual human from his birth to his death, which takes place in a transformation where bipedal posture represents the apogee (intuition of the evolution of the species gaining its upright posture?)…

The most significant representation of the Sphinx is undoubtedly the one from Urartu (Ararat is possibly the place where the symbol originated); an ivory moon-colored human face with a sovereign and thoughtful expression under a silver tiara with double horns, the body of a winged lioness and the sparkling brilliance of the stars.


The moon’s face could quite naturally take on the traits of the Pharaoh’s face in its quality of intermediary (MS) between celestial powers and earthly creatures as represented in Egyptian monuments.

The flash of lightening, the most striking manifestation of celestial electricity moves like a serpent through the sky (see lightening represented by a snake in the remarkable diagram of a thunderstorm in the funereal chapel of Tut-Ankh-Amun). These snakes obeyed the lunar power (see: Gorgon, the aegis of Athena, the Cretan statuette of the snake goddess", etc.

"The Mother of Lightening
furious, leaves her palace of stars,
her hands dazzling with Golden Serpents"

(the thunderstorm unleashed by Sun Wukong, Xi Yu Gi, China)

This blinding serpent bristles with luminous filaments: he is Drouk (Tibetan) flash of lightening and thunderbolt, Drakon (Greek), the Dragon. In Chinese religions the dragon occupies a place of choice, being present in Chinese art up to the present day. This bristling serpent born of the thunderstorm brings both death by fire and to a greater extent assures earthly existence through its life-giving water. It is the symbol of the irruption of celestial energy in its two forms, positive and negative, yin and yang. The continual combat/alliance that is at the very heart of Existence. This dual essence is reflected in the Lunar New Year’s festivities by the dance/combat of two dragons during the storm-like explosions of firecrackers. The same is true in Colchis and Greece, just like the chariot of the god Men (Moon), Medea’s (MT, MD - lunar mastery) flies off into the sky drawn by two dragons.

The mythical figures that inherit this lunar sovereignty over storms and lightening can control this dragon. Their preferred place of worship is on a promontory dominating a body of water, a place conducive to short-circuiting the sky’s lightening (Mont Gargan, Castel Sant'Angelo on the Tiber, Mont Saint Michel, the Fourvière Hill of Lugdunum, Tarascon, etc.)

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