the prophet (PBUH) ridin too?

Mohammed meets the prophets Ismail, Is-hak and Lot in paradise. From the Apocalypse of Muhammad, written in 1436 in Herat, Afghanistan (now in the Bibliotheque Nationale, Paris).

Scribd | This paper will highlight some of primary evidence for entheogenic plant use in Islamic cults that partake of a vastly older legacy of ritual plant use. The accumulated research on entheogens and religions demands that certain traditions be reevaluated in light a continuing and coherent symbolism that enshrines holy plants as high mysteries in diverse faiths. Following thesoma/ haoma complex through Asia and Chinese Shamanism and into Persian and Islamic cults the use of entheogens meets with traditions in the ancient Middle East that shared doctrines of magic plants and cup rituals of visionary wine. The Greek, Semitic and Hermetic traditions merge with the shamanic techniques that persist in the esoteric symbolism of the Shia Muslims and Sufi as demonstrated in their holy books, art and poetry. The alchemical tradition thus emerges has having a definite entheogenic context that was cherished and protected by initiates from the profane. This speculative hypothesis rests on the collective evidence of religious traditions surrounding Islam that possessed similar rituals and reverence for plants that becomes a hidden aspect of mystical Islam.

Muhammad the Prophet Shaman

The prophet Muhammad spoke to the angelic messenger of God and underwent visionary initiatory voyages to the heavenly and infernal regions (1). He mounted the mysterious shamanic beast,al -buraaq, which means “lightning” in Arabic and which begins to draw associations with mushrooms, as they have ancient folklore links with lightning and thunder perhaps due to their sudden appearances after rains. Wasson notes thatBanat ’u’rrad , “Daughters of Thunder” are used as an expression for fungus, but an unnamed species, in the dictionary of classical Arabic in his discussion of “Lightingbolt and Mushrooms” (Wasson 1986). Though described in Islamic literature as being white and something like a donkey or a mule, the fabulous creature is curiously depicted in some examples of Islamic art as being red and white in a design consistent with Amanita muscaria mushroom, the entheogen suspected to be a major candidate for the soama/haoma and the symbolic colors of alchemy.

In the above images, Muhammad is seen riding the red and white creature, again the colors of the Amanita mushroom, in his shamanic night journeyisra' and ascension to heaven mi'raj reminiscent of the ascent of Arda Viraf who takes a narcotic and takes a visionary flight through heaven and hell (Seguy 1977). This representation of Buraq may indicate that regional cults viewed the Islamic revelation through their own shamanic traditions or that Islam retained the ritual heritages of the ancient world. These traditions would be enshrouded in the mysteries of Shia gnosis, alchemy and Sufism that spread into Europe. The other image depicts Imam Ali on a similar creature with the red and white colors and in a scene entitled “Gabriel Shows Ali’s Valor to the Prophet” from the 15th century Persian epic of Ali, the Khavaran Nameh, which shows his steed in these colors particularly in scenes of battle where it is grey in other scenes though more research is needed to fully develop these curious depictions of the changing mounts (Birjandi 2004). Another uncle of the Prophet Muhammad is Amir Hamza, whose folktales date back to the time of the Prophet and whose exploits unite Chinese, Indian Persian, Greek and Arabian cultures, also rides a similarly described winged-demon steed Ashqar Devzad (Lakhnavi and Bilgrami 2007). This series of tales involves treasures under trees and occult lore of the Prophet Khizir and Imam Ali (even before he was born) in aiding in battles and traveling to the land of thejinns for temporal and spiritual jihad for the True Faith anticipating the coming of the Prophet Muhammad.