Today, September 29, is traditionally known in Roman Catholicism as Michaelmas – the Feast of the Archangel Michael. (For a traditional perspective of St. Michael, see this previous Wild Reed post.) This year I’ve chosen to acknowledge Michaelmas by sharing a number of perspectives and portraits of Michael – many of which are non-traditional. And as you’ll see from these particular non-traditional perspectives and portraits, the honoring of the Archangel Michael extends beyond Catholicism. Let’s start with the image at left, one that I particularly appreciate. In it, the beautiful Michael holds up chains that he has broken – presumably with his sword. It reminds me of the words of a version of the “Our Father” that I pray: Loose the mistakes that bind us, as we release the cords we hold of others' guilt. Do not let surface things delude us but free us from all that holds us back. Above: A traditionally-inspired portrait of St. Michael, but one that I found on the website of the Gaia Community. I found what this website had to say about Michael quite fascinating. Michael is entrusted with all events pertaining to the Earth’s Light grid and visionary geography. He supervises its major upgrades, in progress since the mid-1980s, in which additional geometric features are being “grown” out of the original grid to accommodate ever-increasing celestial light and consciousness. Michael facilitates every step a human voluntarily makes towards what is called the Cosmic Intelligence and the revelation of the mysteries of all the holy sanctuaries around the planet. He is the harbinger of the Holy Spirit moving through the Earth grid. On September 29, when the Moon is the furthest from the Earth for the whole year, the Archangel Michael purifies all aspects of the Earth’s visionary geography. Metaphorically, he clears negativities and blockages from all the plumbing networks of the planet: the energy lines, ley lines, and other conduits for the Light that engirdle the Earth as its Light body. Using his sword, he blesses the planet, all its creatures and sentient life forms, and shifts the energy of the Earth’s grid. It’s akin to a magnetic pole reversal, because the energy matrix of the Earth changes its polarity at Michaelmass in response to him. Above: “The Archangel Michael” by Daniel Mirante. Notes Mirante: Art arises from the interplay of many levels of being, the communion of the higher with lower self. The recent cycle of paintings, Sophia, Archangel Michael and Receptivity came through exploring the roots of the Western consciousness, Zoroastrian, Gnostic, Hebrew, Christian and Sufi mysticism, which contain such an incredible internal poetic depth and glory. Once one gets beyond the arguments and objections, and stops throwing the baby out with the bathwater, it is like discovering a treasure trove. Its been buried for millennia but the numinous jewels sparkle as new. The power and glory and vanishingly tender energy in these Divine currents of Spirit is immense – and also a great challenge to the ego, which prefers to consolidate and collect itself, than be rendered humble and transparent. Above: The Archangel Michael is often portrayed defeating Satan – who, in turn, is often depicted as a dragon (more on this later). About this aspect of Michael’s legend Wikipedia notes: The Talmudic tradition rendered [Michael’s] name as meaning “who is like El (God)?” In recent years, a popular mistake has become to translate the name as “One who is like God.” It is, however, meant as a question: “Who is like the Lord?” The name was said to have been the war-cry of the angels in the battle fought in heaven against Satan and his followers. Note how in the image above Michael is depicted using chains to tie Satan up, whereas in the opening image the distinct impression I get is that the chains Michael holds are ones he has helped release us from. I see these chains as representing all those life-denying ways of being and relating that hold us back from experiencing God as fully as we can. And I see Michael as a particular expression or manifestation of God’s transforming love that we can call upon for help as we attempt to release ourselves from these life-denying ways of being and relating. Above: I find this image interesting as it depicts Michael holding both a sword and a chalice. I’m unfamiliar with the significance of his holding of the latter. Above: “St. Michael: Warrior and Defender” by Fr. John Giuliani. Giuliani is renowned for his Native American-inspired artwork. Varun Gade of the Marian Library/International Marian Research Institute in Dayton, Ohio, has noted that: [Fr. Giuliani] studied icon painting under a master in the Russian Orthodox style in New York in 1989. . . . [His] Native American icons [are] meant to “celebrate the soul of the Native American as the original spiritual presence on this continent, thus rendering his images with another dimension of the Christian faith.” Above: Okay, this would have to be the gayest portrait of St. Michael I’ve ever seen! (Actually, the image that opens the previous Wild Reed post, The Archangel Michael as Gay Icon is also, surprise, surprise!, pretty gay.) This one actually looks like a cartoon superhero. And that’s still kinda gay as we all know how queer those superheroes can be. Above: This is another image that I particularly appreciate. Why? Because Michael is shown taming the dragon, not killing it. This is significant as it actually reflects what the dragon originally represented in esoteric thought: not Satan but our shadow or lower self. This shadow self is part of us – a necessary part of us: no shadow, no light. The problem comes when we allow this side of ourselves to run amok. Interestingly, in the early legends of dragons, the role of the knight wasn’t to slay the dragon but force it back to where it belonged, to put it in its appropriate place, in other words. The psychological insight is clear: balance is what it is all about; we need to befriend (and thus bring into balance) our shadow side, not seek to destroy it. That’s what this image seems to be depicting: Michael befriending and subduing the dragon before returning it to where it belongs. See also the previous Wild Reed posts: • The Archangel Michael as Gay Icon • Michaelmas (2008) • The Allure of St. Sebastian • Mary of Magdala • The Inherent Sensuality of Roman Catholicism Image 1: Teresa A. Nielsen. Image 2: Artist unknown. Image 3: Daniel Mirante. Image 4: Artist unknown. Image 5: Artist unknown. Image 6: John Giuliani. Image 7: Igino Giordano. Image 8: Patti Blair.