Pythagoras
September 16th 2005, 01:29 AM
Carl Jung believed that the Black Madonna of Einsiedeln was a manifestation of Isis, representing the cult that migrated from southern Egypt to the Mediterranean, and then spread throughout much of Europe. Many observers, including the mythologist Joseph Campbell, have noted the similarities between statues of the Madonna and Child, and Isis and Horus, with Isis often depicted as black in her original representations. "Like the Madonna of Einsiedeln, Isis too is considered a Virgin, the Mother of God, and . . . the 'black healer,'" writes Gustafson.
In Isis Unveiled , Blavatsky writes:
“Immaculate is Our Lady Isis,” is the legend around an engraving of Serapis and Isis, described by King, . . . the very terms applied afterwards to that personage [the Virgin Mary] who succeeded to her form, titles, symbols, rites, and ceremonies. . . . Thus her devotees carried into the new priesthood the former badges of their profession, the obligation to celibacy, the tonsure, and the surplice. . . . The “Black Virgins,” so highly reverenced in certain French cathedrals . . . proved, when at last critically examined, [to be] basalt figures of Isis.
China Galland, author of Longing for Darkness: Tara and the Black Madonna, had these feelings after her visit to Our Lady of the DarkForest:
"Seeing the Madonna at Einsiedeln gives me the sense that she is a Western remnant of the ancient Dark God[dess]—be she the Indian Kali, Durga, lesser known forms of the Tibetan Tara, the African-Egyptian Isis, the Roman Cybele, or the Greek Artemis or Demeter (Ishtar or Inanna)—all contain aspects or have manifestations of the Black Mother. . . . this is the darkness of ancient wisdom, of people of color, of space, of the womb, of the earth, of the unknown, of sorrow, of the imagination, the darkness of death, of the human heart, of the unconscious, of the darkness beyond light, of matter, of the descent, of the body, of the shadow of the Most High. "
In Isis Unveiled , Blavatsky writes:
“Immaculate is Our Lady Isis,” is the legend around an engraving of Serapis and Isis, described by King, . . . the very terms applied afterwards to that personage [the Virgin Mary] who succeeded to her form, titles, symbols, rites, and ceremonies. . . . Thus her devotees carried into the new priesthood the former badges of their profession, the obligation to celibacy, the tonsure, and the surplice. . . . The “Black Virgins,” so highly reverenced in certain French cathedrals . . . proved, when at last critically examined, [to be] basalt figures of Isis.
China Galland, author of Longing for Darkness: Tara and the Black Madonna, had these feelings after her visit to Our Lady of the DarkForest:
"Seeing the Madonna at Einsiedeln gives me the sense that she is a Western remnant of the ancient Dark God[dess]—be she the Indian Kali, Durga, lesser known forms of the Tibetan Tara, the African-Egyptian Isis, the Roman Cybele, or the Greek Artemis or Demeter (Ishtar or Inanna)—all contain aspects or have manifestations of the Black Mother. . . . this is the darkness of ancient wisdom, of people of color, of space, of the womb, of the earth, of the unknown, of sorrow, of the imagination, the darkness of death, of the human heart, of the unconscious, of the darkness beyond light, of matter, of the descent, of the body, of the shadow of the Most High. "