The Magdalene, Veiled and Unveiled

Published 07/02/2012 by wakingbeautymystery

The Magdalene, who represents the entire Tree of Life, also embodies the sexual, or yonic aspect of the Tree.  Yet the body of the Magdalene appears clothed in her role as mother or sister.  When She works in these roles, in both Renaissance art and in Tarot imagery, the sacred feminine is clothed.  In these roles her yoni is covered.  In her role as Beauty, and Bride, She is unveiled.

Again, The Magdalene represents the entire Tree, and all three forms of sacred feminine depicted.  She is Mother , Sister, and Daughter in one… just as any woman may represent all three of these female roles.  As any woman’s body includes a yoni or vulva… so does the Magdalene.  In her role as Mother or Sister, however, her yoni is covered.  As the Daughter and Bride, her secrets are revealed.

Previously, we looked at the identity of the Mona Lisa,  based on Da Vinci’s knowledge of Cabalistic language.  The symbolic language he uses in his Last Supper also appears in the Mona Lisa… where the Mother and Sister are depicted together  as a compound image of  woman.  Like the Empress,  the Mona Lisa sits in a chair.  Water flows through the Landscape behind her.  Like the High Priestess, she sits between two pillars (the bases of which are just visible on either side of the figure).  Her hands and a book are at her lap.   Mona Lisa rests her left arm on a book, symbolizing the law and learning of the High Priestess, who also holds a book in her lap.  Look for the book under Mona Lisa’s arm.

The Empress, as Universal Mother, sits in a chair.  Water flows through the landscape behind her, as it does in the Mona Lisa.  The thin veil, worn by the Mona Lisa, identifies her in this period of Italian culture, as pregnant.  According to the Cabala the Empress, as Universal mother, is also pregnant.

Notice the thin veil, covering the head of the Mona Lisa. This veil, in 16th century Italian culture, indicates pregnancy.

Da Vinci also painted the Mona Lisa in her Bridal State.  As Beauty she is unclothed.  Note the facial features of the woman in both paintings.  The  expression is quite different, but the face is the same.  The Landscape behind both figures shows the Land with which the sacred feminine is identified.

Notice that little triangle of red robe that she holds forward in her lap.  When John appears, as Beauty, the yoni is emphasized.

The Holy Bride initiates her groom into the Mysteries.  She teaches him the principles of wisdom.  She brings spiritual knowledge and heavenly joy to sexual union.  The story of Sleeping Beauty reflects on the absence of this central figure from the ancient roots of the Tree of Life, and from the female centered religion upon which Christianity was founded.

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