' “The doors to the world of the wild Self are few but precious. If you have a deep scar, that is a door, if you have an old, old story, that is a door. If you love the sky and the water so much you almost cannot bear it, that is a door. If you yearn for a deeper life, a full life, a sane life, that is a door.”

― Clarissa Pinkola Estés, Women Who Run With the Wolves

Art: Hans Vandekerckhove '

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"O cosmic birth of all radiance and vibration,
soften the ground of our being
and carve out a space within us w
here your presence can abide.

Fill us with your creativity
so that we may be empowered
to bear the fruit of your mission.

Let each of our actions bear fruit
in accordance with our desire.

Endow us with the wisdom
to produce and share what
each being needs to grow and flourish.

Untie the tangled threads
of destiny that bind us
as we release others
from the entanglement of past mistakes.

Do not let us be seduced
by that which would divert us
from our true purpose,
but illuminate the opportunities
of our present moment.

For you are the ground
and the fruitful vision,
the birth, power and fulfillment
as all is gathered
and made whole once again.

And so it is."

— the Lord's Prayer as translated from Aramaic to English (rather than the traditional and typical one which is translated from Aramaic to Greek to Latin and then to English)

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' The striking similarities among nearly identical petroglyphs discovered in Japan, Utah, and Azerbaijan prompt intriguing inquiries into the connections between ancient cultures. These carvings, located in Fugoppe Cave in Japan 🇯🇵, Nine Mile Canyon in Utah 🇺🇸, and Gobustan in Azerbaijan 🇦🇿.

Feature representations of winged or flying human figures. Despite being separated by extensive geographical distances, their presence in disparate locations raises questions about potential cultural interactions or shared symbolism.

The dating for these petroglyphs indicates significant historical value: approximately 7,000 years in Japan, between 1,000 and 2,000 years in Utah, and up to 10,000 years in Azerbaijan. Such motifs across these diverse regions suggest the possibility of a common mythological framework or analogous beliefs regarding winged beings among these ancient societies. This raises the question of whether these cultures independently developed similar iconographies or if they were influenced by interactions across vast distances.

This phenomenon warrants careful scholarly examination to understand the implications for our comprehension of ancient human beliefs and their expressions in art. '

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