For the Sake of Love & Learning
Or shall it read, dear Ones, for the Sake of the Love of Learning?
What this title refers to is what I call intentional / intuitional learning, the one we use when we put out our antennae, tune in, and listen. We then open ourselves up to what may come, to what may want to manifest.
By listening, I mean listening to what resonates within; what resonates within our Hearts or possibly within our pineal gland.
Here is a recent example of my “intuitional learning,” my “intentional receiving,” knowing there is more to come, now that my antennae are “out.”
This past weekend, I attended a workshop in Nashville presented by a white American gnostic male—this is the way William Henry painted himself to us on the second day.
Here is a link to the post which led me to the workshop, which was entitled, The Magi of the Golden Sun: The Shining Ones and the Way of Light.
This workshop was indirectly mentioned to me (via the above-mentioned weblink) early July by a friend of mine. I followed my Higher Self guidance (and the link to the workshop link) and signed up for it, not knowing what would happen by the beginning of November.
In that same email, my friend had mentioned a ‘mysterious’ medieval painting whose name reads The Wilton Diptych. I didn’t know what these two words meant and didn’t pay much attention to the information. I didn’t even bother to watch the Wilton Diptych video link my friend sent me. It is now clear to me that I wasn’t ready for the exploration.
In the course of the ensuing four months, I remember having a lengthy virtual discussion with two other friends about The Wilton Diptych and the Blue Avians. Yet nothing that would crack my inner-Earth; nothing that would wake me up.
That being said, something woke me up that past Saturday afternoon when William Henry mentioned Garab Dorje, a “miracle child who brought the Great Perfection or Rainbow Teaching from the Celestial Realms.” It is not utterly important to know who Garab Dorje—a Tibetan being who is said to have lived between 184 BCE and 57 BCE—is. What mattered (to me) is that something woke me up, whatever that something was.
That same evening, after learning about Garab Dorje from another friend, that ‘something that had woken up’ prompted me to do research about the very Wilton-Diptych-reason I attended this workshop.
The first thing I did was to watch the video link my friend had sent me early July. This is when the “cerebral light” went on, as I learned what a diptych is, and that Wilton is the name of the family who owned the painting until it was transferred to the National Gallery of London.
All along, in my “cerebral obscurity,” I had thought that Wilton was a first name and that Diptych was a family name. “Why not?” my logical mind says, and why would a common name (diptych) be written with a capital D?
And then comes the mystical part of the learning, the intuitional one, and the fact that my waking up led me to send the video link to William Henry, not knowing if he had watched it or not, and him presenting the Wilton Diptych on Sunday—and not on Saturday…Why, my antennae would say? Why this ‘unconceivable timing’?
From ignoring a friendly video link early July, to waking up to some piece of apparently-important information on Saturday evening, to William presenting that very same information on the next day. That is way too “accidental” to be a coincidence.
And so my antennae got buzzing with questions, wide open as they became. In the Wilton Diptych, there is apparently a mystical transmission—or is it a mystical request in the first place—going on between baby Yeshua and kneeling Richard II, King of England.
Richard II, on the left side of the two-sided panel painting, is surrounded by Saint Edmund, holding an arrow, Saint Edward the Confessor, holding a ring, and Saint John the Baptist, holding a baby lamb. He is facing Mother Mary, who is holding baby Yeshua, and they are both surrounded by a large community of blue women angels, who all wear the emblem of Richard II—the White Stag—on their robes, right below their left shoulders.
Richard II, who was born in Bordeaux—we share the same homeland—in 1367 apparently commissioned the painting which was executed between the years 1395 and 1399. Which means 3 to 4 years before his death in 1400. Why would a king do that, knowing he would enjoy the painting’s presence for such little time?
Did he understand he would be transitioning soon, and did he consciously know the painting —and more specifically the energy of it—would help him transition? Or perhaps ascend?
William asserted that the transmission (or the request) at play is that of the Rainbow Body, or the Beaming Garment, in William’s own words. A friend of mine mentioned codes being sent, by baby Yeshua to Richard II.
My antennae are not dismissive of these two possibilities but my little finger (as we say in French, mon petit doigt, referring to our intuition) says there may be more to this; there may be something else at play here. And that is the reason why I came into “full spiritual contact” with this painting, at the very time when I was finally ready for it.
My antennae are wide open; open for any inner-learning that may want to manifest.
Let’s “manifest” more learning this coming Thursday and discover, or confirm, why it is that we are letting our antennae out.
With much gratitude, dear Ones, for the life we live in, and for the times we are in together.
Photos of the Wilton Diptych, courtesy of William Henry