2007 07 07, Stantonbury Hill

  Stantonbury Hill

(part 1)

 Sacred science

    At the first appearance of this formation I was immediately associating it with the old Chinese I Tjing oracle. Understandable, the oracle is based on a dualistic universe the way it is expressed by the Yin Yang principle. In comprehension, a number of trigrams around the central Yin Yang sign do catch the eye. Trigrams are typical attributes on which the I Tjing furthermore bases it selves on. The trigrams are made of complete, or otherwise, broken lines. The complete lines stand for Yang energy while the broken lines do that for Yin energy. Except these two line types, there are also exchanging lines possible.     The way I interpret the trigrams of this formation is that they are susceptible “K’oen” or earth trigrams of which the lowest (closest to Yin Yang centre) lines happen to change. The grape shots point that out. By this the trigrams become “Tsjen” trigrams telling us about excitement or thunder. In the known history of crop formations we have besides almost-Yin Yang signs only once before a complete Yin Yang sign. One that was made clumsy enough to, by the way, think of it as a hoax.

    At a certain moment in time, while being at the crop circle area I meet a woman named Catherine. We came to talk about our shared fascination for the ancient Egypt Kephri, the scarab God/Goddess, that had also appeared as a crop formation. Then she fishes a book of an artist friend of hers out of her car to show some artwork related to this theme. The artist is named Peter Pracownik. She gives me the book as a present. Later, in this book I discover the striking correspondence with a picture that is drawn as a logo for the chapter “sacred science” and the formation that appeared about one month before at Stantonbury Hill!

 

According to my opinion the formation easily unites the idea of sacred science with the thousands of years old I Tjing oracle. Those that are familiar with the I Tjing like I am KNOW that it speaks truth in spite of the fact that causality seems hardly manifest. The traditional western science is in this perspective only formulated science based on proof. Because it works with determination in which knowledge gets isolated from its taller connections you could actually speak of desecration of nature, or as you wish, cosmic intelligence. Ignoring the totality of existence leads unfortunately far to often to atrocities against life or manifestation in general. The outcome of the western methods might have scientific validity, there is no other way that sacred science is much more comprehensive, it is more friendly and certainly capable to reach the same results. It can do this by using spiritual principles.

To ensure there won’t be confusion, the practice of sacred science is not limited by the use of I Tjing. It is just that the I Tjing offers us a very valuable tool for such practising.

    Without taking careful notice the formation shows us a perfect Yin Yang symbol. But, how more often will I say this, in the crop circle world nothing is the way you think it is. Closer inspection leads us to the strange phenomenon of two circles within one of the centres! From a big distance it can hardly be seen but the lay gives us clearly a bigger and a smaller circle. The bigger one has a centre of some standing stalks. Next picture shows it. Otherwise there’s also this video report of Celtic King to get an even better impression.

 

About the twelve of twelve trigrams.

It is tempting to connect the number 12 to ideas of the 12 zodiac signs or the 12 disciples of Jesus or whatever. The picture the way we have it shows us however 12 exact the same trigrams. The diverse qualities of the zodiac or the disciples are therefore simply not expressed. At the best there can be a reference to 12 equal houses. In fact there is hardly anything that can be said about this number in relation to the sign unless certain sources are still hidden for us. What is left to nibble at my mind is that I ever came across the idea of 12 to overcome illusions. Which ones these 12 illusions are was not described but it wouldn’t surprise me at all that again the 12 zodiac signs or the 12 disciples are somehow related to to these illusions. Maybe I’m being speculative, but if the 12 doctrines are about to fathom the 12 illusions then 12 equal frames are still appropriate. In this manner they can represent 12 neutralised illusions! You can make it up for yourself what neutralised illusions have to do with science…

About reading the trigrams.

In case for example we consult www.cropcircleconnector.com/2007 about this formation than we will see that, although the I Tjing thought is shared, there are different interpretations been given to the set up of the trigrams. Such differences make it clear how difficult it actually is to give an appropriate explanation to this pearl of symbolism. Or if not, how superficial interpreters often can be. As said before, I consider the material around the Yin Yang sign as susceptible “K’oen” or earth trigrams in which the lowest lines are dealing with a change of their nature from where “Tjen” trigrams develop that are about excitement or thunder. In case this moving line is familiar with the first moving line of hexagram(!) earth than it is about a tendency of energy loss, frost or becoming rigid. Connected to this, is the advise to prevent or to overcome such a situation. For a more profound understanding of this very brief interpretation I refer to the I Tjing itself. How I come to this interpretation of the material I will explain.

   To be honest, I must admit that I’m not completely sure if there really are trigrams expressed here. There’s also a chance that 4,5,7 or 9 lined grams are expressed. (wouldn’t know how to call these) Such grams are in the tradition of the I Tjing in comprehension to di-,tri-,and hexagrams not used. To stick to the I Tjing draft, the 3 lined option would be the only matching one. Except for this reason the 3-lined gram is anyway a touch more likely but it goes too far to go into details about this.

 

 

In case it is, after studying of the upper images, not clear yet; the 7 and 9 lined grams need to be formed by combinations of the 3 and the 5 with the 4 lined option.

Another difficulty in the process of interpreting is from which side of you have to read these trigrams. From the inside towards the outside or the other way around? To me it seems that from the inside towards the outside is the only way. Every orientation in whatever kind of image starts with finding a midpoint or central thought. We see this principle also at meditation- and contemplation techniques described as one-pointed concentration. The Yin Yang sign is clearly the central object. Extracted from this or at least connected to it is the remaining material.

Finally I would like to state that the line thickness of the framework is equal to that of the trigrams. It seems to me a well over thought choice that can stimulate the watchers thoughts towards the idea of expansion or growth of the Yin Yang sign. The lines of the trigrams meld together with the framework so that these lines themselves can be understood as potential frameworks. If we imagine that the changing lines (the ones with the grape shots) are changed than we really have new framework indeed. This with all the consequences of course.

   Also can be noticed there is a suggestion of diagonals that create peaks or triangles. To be more specific, peaks that point outwards and peaks that do so inwards. Striking how nice the difference between these peak suggestions are emphasised by Yin and Yang powers. Nevertheless, the suggestion of a movement from the inside towards the outside dominates somehow. As if you see “a Yin Yang-sun” shining…

 

Stantonbury Hill

(part 2)

 

Before and after completion

Until here it has been sort of a struggle for me to place the trigrams in their proper perspective. Thought I had reached an acceptable result by filtering the susceptible trigrams with their changing lowest line out but then I started meditating about the frames again…Staring at these trigrams while still wondering why there are no hexagrams like I’m used of the I Tjing, it suddenly occurred to me that when the lines of the trigrams seem to have the ability to turn into lines of a frame than the opposite could also be the case! Of course! In this formation there sure are extra trigrams to be discovered!

The extra one’s are 12 “creating” trigrams. Because of my mindset that immediately stuck to the idea of seeing frames it was not possible to hold these lines for changing Yang lines before.

 

It is common use to make a little cross line when the line is at transformation. After all, a point would disappear against the line. Now that three Yang lines are changing at the same time the three cross lines happen to connect so that they look like one line. It’s a tricky something which shows how easy things can be hidden. But having this much, can we speak of hexagrams now? Hardly.

 

       At least we can comment these extra trigrams. They are as said “creative trigrams”. They contain only heavenly Yang lines that represent power of activity. On top of that all three are in a changing mode. This of course directs to extra powerful activity from the transcendent plane. At the review of the changing lines the I Tjing makes a remarkable exception by the rare situation when all lines change at the same time within the sign of creativity. Although we are dealing here with a creative TRIgram instead of a creative HEXAgram; the peculiarity tickles the imagination.

    In case there are only changing Yang lines, this means: A group of dragons appear without head. Salvation! The overall sign starts to move and changes in “susceptibility”, which character is devotion or surrender. The power of creativity and the generosity of the susceptibility unites. The multitude of dragons refers to power. The circumstance that their heads are hidden is referring to the devotion. Being devoted in manner of acting when connected with the force of decision brings salvation. It is the nature of heaven not to appear as head.

Creativity leads all that happens, but does not appear before the footlights. Towards the outside it does not present as head. Also is the real power; lively and hidden at work, without visibility outward. The sign changes into “the susceptible” that is completely receptive, and consequently shows no head.

 

When creativity and greatness transform all its (Yang) lines than the world comes to order. When creativity and greatness transform all its (Yang) lines one observes the law of heaven.

    As far as the matter of indeed or no hexagrams is concerned, it is necessary to conclude that again and again 2 trigrams are connected sideways with each other. An earthly and a heavenly trigram every time fading into each other as if there’s hardly any difference! Does that give us the ability to speak of real hexagrams? If so, than how can we, conform the manner of usual writing (in which we see two trigrams on top of each other), note these? I want to take a quick look at the Hat Gate Cottage formation to see if it holds a clue.

Most striking about the formation is its harmonic distribution between the lines and the empty spaces that in most aspects share the same sizes. We see 5 concentric lines weaved in such a way with the empty spaces that these empty spaces can easily be kept for lines as well. By that they form complementary signs. When for the sake of comfort I’m allowed to pass the number of lines, than now we notice Yang power completed with Yin power. The powers comply in a gentle way turn and turn about. Translated to the traditional noting it means that the Yang lines follow up the empty Jin lines or vice versa. So, the ultimate Ying Yang principle I would say.

    As far as the trigrams of the Stantonbury Hill formation is concerned it looks as if in case we are allowed to forge them together this also wants to be done every other line. As well the sideway “every other effect” as the Yin Yang sign as the complementary attach within the Hat Gate pictogram support the idea. Now if the hypnotising Hat Gate Cottage diagram hasn’t ripped me of my common sense yet I believe there are two manners of notation left:

    To let there be no mistake; these two hexagrams are related to the Stantonbury Hill pictogram. I don’t see any possibility to place one option above the other and therefore I suppose that this result has been put that way on purpose. It makes sense when we consider that both options are based upon the same theme, that is fulfilment or completion.

Anyway, for the explanation of the hexagrams I refer to the I Tjing itself. As a minimal introduction for those that are not familiar with the I Tjing I will tell a little more about this magnificent book.

The I Tjing is also called the book of changes. It is an oracle and book of wisdom in one that is developed in Chinese ancient times. It’s origin is said to date already 3000 before Chr. while it functioned as a foundation for the Chinese civilization. In essence the book counts sixty-four chapters, each based on a certain hexagram. The hexagrams stand for periods in time. To each hexagram is a comment added that describes the period and tells you what eventually can be done in such situation.

    As should be clear by now, there also exist trigrams that can get filtered out of the hexagrams. About these trigrams the book also dwells at length on them. Besides this, the trigrams are the basic elements in the Chinese science of landscapes, the well known Feng Shui. In fact Feng Shui is tightly woven wíth the I Tjing. I guess we can easily say that most crop formations are Feng Shui expressions of a hidden origin.

So, as a consultant of the oracle you will find yourself confronted with your own situation, the period of your life that you are dealing with at that time. When properly used I Tjing will advise you by reflecting the decisions that can be made according the situation. Still it is not as easy as I’m describing things here. The book makes an appeal to the intuition of its users. After all could it be wisdom to leave the digesting of our life lessons to an external institution at all? The I Tjing understands enough not to go with a tendency like that, leaving responsibility at its pupil. Nevertheless, the book is evidently able to foresee in remarkable insight.

In case you would like to procure the book it might be good to know that there are quite a few editions in circulation that easily confuse the mind instead of functioning as a valuable guide. Because of that it will be advisable to do some orientation before buying. Myself, I use since many years the well known edition of Richard Wilhelm. Also the I Tjing for the 21st century of Han Boering can be considered as a must have although I’m not sure if it has an English version.

 

May love, beauty, justice and wisdom be in reach for all people.

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Randell, meaning of crop circles