Mona Lisa Code Suggests Holy Bloodline Concealed In Da Vinci Masterpiece
Symbolic code in the Mona Lisa supports Dan Brown's theory of a Holy Bloodline in The Da Vinci Code.
- (1888PressRelease) July 20, 2010 - LOS ANGELES, CA - Astonishing symbolism supports a theory that two Biblical women - Mary Magdalene and Rachel - were fused together as the single figure in Leonardo da Vinci's painting of the Mona Lisa. According to Scott Lund, a Los Angeles-based writer and expert in symbolic language, da Vinci joined both woman in his painting in order to create a single matriarchal archetype that united the Old and New Testaments.
In his article The Mona Lisa Code, printed in this month's issue of Bel-Air Magazine, Lund exposes da Vinci's hidden theme of the painting. The Renaissance master used the two-faced Roman god Janus as a clever metaphor to portray the duality of the soul. The use of the popular Roman deity - represented as a head with two faces looking in opposite directions - enabled da Vinci to depict the divine moment when the soul of a male embryo is created by the soul of its mother."
"The supreme archetype for a mother in the Old Testament was Rachel, who named her child 'son of my right hand'," says Lund. The right hand of the Mona Lisa is clearly shown by Lund to be the representation of a male fetus that gains vitality at the expense of its mother. In the Old Testament account, Rachel died giving birth to the son known as Benjamin. Lund thinks that the jagged scar seen on the index finger of the feeble left hand represents Rachel's traumatic delivery.
Symbolism that Lund has just released shows the monogram for Mary Magdalene - MM - clearly seen on the wrinkles of the sleeve next to the Mona Lisa's right hand. Appearing just above the monogram is the name MARY.
"Identifying Mary Magdalene with childbirth is the essence of Dan Brown's novel, The Da Vinci Code," says Lund. "It lends credence to the idea that she was the wife of Jesus and that they established a holy bloodline which ultimately pervaded European royalty."
According to Lund, it is a forgotten tradition that most things in the Old Testament had their symbolic parallel in the New Testament. Lund cites the obvious example of the Old Testament account of Jacob and his twelve sons having its counterpart in the New Testament as Jesus and his twelve disciples.
"By painting the Mona Lisa, da Vinci was apparently reinforcing a preexisting esoteric tradition that Rachel, the symbol of motherhood in the Old Testament, had her counterpart as Mary Magdalene in the New Testament," says Lund.
To view new symbolism and get a copy of The Mona Lisa Code article, visit www.ScottLund.com
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