Threads of the Divine

28 Years Later - Pedro Berruguete

Just a few days ago (May 30, 2005), I was researching a crop formation that appeared in Britain, and I happened to come across, in Cirlot's A Dictionary of Symbols, the image of a vase close enough in shape to the one I dreamed about, that I had to catch my breath, since I had for years wondered about the meaning of the vase and the great importance placed upon it in the dream.

The particular feature of the two handles was the distinguishing feature that was so difficult for me to find in previous attempts to trace a connection with the vase in the dream. The vase here is crystal, and not milk glass, nor does it have gold on the rim and handles. However, for me this is a striking resemblance to the vase in the dream. The carpet also looks very much like the one in the dream and also may (I cannot remember clearly) be very like the carpet on Thelma Ave.

side by side vases
The shape of the dream vase and the shape of the vase I found in the painting by Berruguete were so similar that I took the coincidence as a clue to the meaning of the dream.
annunciation

Symbolism Related to the Vase Through Association with Painting

 

This Annunciation was painted around 1505 by Pedro Berruguete, the 'first' Spanish Renaissance painter.

One could imagine the painting divided into four spaces symbolizing time for humanity: the red carpet of human history before, during and after the birth of Christ; the meeting of the past with the present at the point of the vase, and the lintel; then the near future represented by the less distinct carpet; and finally the distant future outside the window.

Another aspect of this painting is the fact that both the angel Gabriel and Mary are depicted as equals, on equal footing,–the angel associated with the church columns, revelation (carvings of apostles) and the Holy Spirit, and Mary associated with Nature (the mysterious cubicle draped in deep green), human knowledge (book), prayer. ‘Gabriel’ means ‘Divine Husband’. As equals, Mary then also has the status of ‘Divine’. This annunciation is a beginning of divine work on the carpet of Earthly reality.

A carpet is the symbol of ‘welcome’ at a very mundane level, but it is also associated with sacred space, a means by which a worshipper is elevated to a separate plane of existence. This understanding then gives the whole of Earth’s history a meaning related to progress through the ages toward an unknown, yet hopeful future.

The vase, a symbol for the Divine Feminine, is situated on the carpet just before the lintel. The symbols on the carpet are typically geometric patterns found on many Near Eastern carpets. It so happens that these designs are basic descriptions of relationships in the universe, and some of these can be viewed as fractals. It is significant that the vase is on a carpet of designs that very closely resemble many patterns found in crop circles, and that I happened to discover the painting only when I was researching a crop circle of this year (2005). The background carpet looks uncannily like the images taken of crop circles from points on the ground rather than from the air. To me the significance of the vase on the carpet is that the Feminine within Gaia Herself is awakening. In the dream the two golden handles could represent the work of both the Heavens and Nature as equal forces in the preparation for the next step in human history. The golden-rimmed lip of the vase is the Divine Outcome of this event. It is like an annunciation of a New Creation. The carpet is the welcoming and facilitating space, reality upon which the New is offered and realized.