“(Aztec; Ome, “duality” and Tecuhtli, “Lord”) The Lord of Duality. This is seen as the Androgynous nature of the Spirit. He is represented as being joined with his spouse Omecihuatl (see entry by that name). Ometecuhtli-Omecihuatl is the Aztec Osiris-Isis, Joseph-Mary, Shiva-Shakti, or Samantabahdra-Samantabahdri. This aspect of the Spirit is seen Kabbalistically within Daath, where divine creativity resides. The conjunction of Ometecuhtli-Omecihuatl is called Ometeotl, the one androgynous spirit. The dwelling place of Ometeotl is the Omeyocan. The children of Ometecuhtli-Omecihuatl are the four aspects of the Cosmic Christ: Tezcatlipoca, Huitzilopochtli, Quetzalcoatl, and Xipetotec. See Omeyocan, Tezcatlipoca.
These might well be the 4 directions.
Wordly conceptual and visual parallels in Greek and Egyptian cultures
Further interesting Parallels are there on the female aspect and its representation, the snakes, with Egypt, representations of Wadjet, as dual snake headed women which in turn is the later female aspect Medusa, the Minoan snake godess and Aztec Coatlicue.
The left figure from us is easily identified by most people as a figure. The right one is a figure to, with two snakes for a head.
We see the dual headed snake figure also in Egypt and behold, also holding snakes like Viracocha. There it is a representation of Wadjet. The female aspect of Duality.
Quite similar to Viracocha, yet the Egypt version is only the female aspect, while Viracocha is male and female combined. Now do you see the left figure on the Tiwanaku statue is this figure with two snakeheads?
Below the figure on the gate of the sun, Viracocha. He is a representation of male (sungod) and female (the snakes) in 1.
The Minoan snake godess is only female aspect of nature but in similar execution of overall ‘design’ .
It also shows on Isis on the Qetesh stele.
The lion below her as Leo is close to virgo, it links her to the Indian Durga, Brittania and other archetypes. (Shiva is male aspect) In modern times this translated to the red and blue Colour in occultism. Shiva and Durga are also seen as a combined God. Duality in 1, the universe. (Virgo/Leo and Otion/Taurus, sungod and moon, male and female etc)
Here below another Egyptian representation of Wadjet, the female aspect , compare it to the tiwanaku figure in the statues left hand. (right for you.) it’s the female aspect of the duality.
The dual snakes is the female aspect of nature.
It is important to understand that sometimes the female aspect is depicted as stand alone and sometimes male and female are in 1 image.
Examples of combined imagery, the two figures in tiwanaku statues hands, viracocha(male/sun) holding snakes (female/moon), young horus (male/sun) holding snakes (female/moon) and the sundisk with the two snakes.
Here below we see from the mochicha culture that predated chavin the disk of sun with the two snakes and priest on top. Again a duality, identical to the Egyptian sundisk in execution and concept.
Stand alone images of the female aspect are Wadjet in human form with two heads, Medusa, Coatlicue.
Now if we look back at the Mochicha culture we see this:
Or, at the Aztec calender stone…
The similarities are obvious. It’s the female aspect of nature.
Hindu godess Kali
So how can these cultures, Greek, mochicha, Aztec, Egyptian, Indian, that have nothing to do with each other come up with identical concepts?
Medusa was the crone stage of a triple moon godess. All that looked at her ‘turned to stone’ or, slept at night… Then she was ‘defeated’ by the sun solar hero Perseus. The Medusa type we see in many cultures exactly depicted the same.. WHY?
The easiest way out is to blame Jung archetypes.
Yet the visual execution is very similar in all these cultures. The fanged teeth, the tongue, the dual snake heads, the snakes for female aspect.
Shiva wearing the cobra like Egyptian pharaohs the uraeus.
Wadjet was depicted as a cobra. As patron and protector, later Wadjet often was shown coiled upon the head of Ra; in order to act as his protection, this image of her became the uraeus symbol used on the royal crowns as well.
Interesting.. The milky-way reference..
“An interpretation of the Milky Way was that it was the primal snake, Wadjet, the protector of Egypt. In this interpretation she was closely associated with Hathor and other early deities among the various aspects of the great mother goddess, including Mut and Naunet. The association with Hathor brought her son Horus into association also. The cult of Ra absorbed most of Horus’s traits and included the protective eye of Wadjet that had shown her association with Hathor.
When identified as the protector of Ra, who was also a sun deity associated with heat and fire, she was sometimes said to be able to send fire onto those who might attack, just as the cobra spits poison into the eyes of its enemies. In this role she was called the Lady of Flame.
As the patron goddess, she was associated with the land and depicted as a snake-headed woman or a snake—usually an Egyptian cobra, a venomous snake common to the region; sometimes she was depicted as a woman with two snake heads and, at other times, a snake with a woman’s head. Her oracle was in the renowned temple in Per-Wadjet that was dedicated to her worship and gave the city its name. This oracle may have been the source for the oracular tradition that spread to Greece from Egypt.
The Ancient Egyptian word Wadj signifies blue and green. It is also the name for the well-known Eye of the Moon. Indeed, in later times, she was often depicted simply as a woman with a snake’s head, or as a woman wearing the uraeus. The uraeus originally had been her body alone, which wrapped around or was coiled upon the head of the pharaoh or another deity.”
Orion, Shiva nataraja with the milky-way above his head.
As mentioned above, the sundisk with two snakes, is not just a random image. It’s not only a sundisk.
It is a representation of the combined dualistic nature of the universe in 1 image.
It is the same concept as Viracocha (sungod) holding two snakes or Horus on top of Wadjet in hatshepsut temple.
Wadjets head just has disapeared as can be seen from steles on same temple. The snake body next to the stairs is still to be seen.
We have seen snakes on balustrades before in other ‘unrelated’ cultures.
To conclude, identical representations of duality span global cultures.
They not only share concept but also execution and visual representations that can not be ignored any longer. The fact that the Tiwanaku culture has visual similarities and cultural duality concepts executed also in Egypt, like mentioned above is worthy of considering the possibilities of a shared ancestry or cultural global contact and exchange by a previous civilization.
The bird and snake, or Hero and snake, is in my opinion the duality represented, male and female, sky (father) and earth(mother), orion and virgo, adam and eve, Shiva and Durga, Garuda and snake symbolism, hero figthing snake etc etc. We also see this symbolism of duality on the mask of King Tut.
For further reading I recommend the article the universal religion.
The rosette (rodakas in Greek) a motif that was widespread throughout Mesopotamia, Egypt and other ancient civilizations appears as well in many ancient Greek-Mycenaean jewels, among its other decorative uses in architecture and pottery (circa 1500 BC).
Mycenaean rosettes come usually in 6 or 8 or 12 leaves. They were made of gold and were used to decorate cloths for both men and women, sewn directly on them. They were also used in belts or as repeated motifs in necklaces, and as single decorations in earrings and rings.
I believe that the mycenean and minoan rosette is another shape for the sun.
We see this also in mediaval churches in form of the rose window.
Statue of Meryetamun, daughter of Ramses II, c. 1250 BC, located in the Cairo Museum.
J.-C. Poursat, Catalogue des Ivoires Myceniens du Musee National d’Athenes; Les Ivoires Myceniens, Athens, 1997.
One picture: Heraldically opposed sfinxes, Ivory relief. From the “House of Sfinxes”, Mycenae. Ascribed to c. 1300-1200 BC. Illus. 162, Higgins, Minoan and Mycenaean Art. Pl. 97, Taylour, The Mycenaeans.
Krishna and his brother Balarama fighting Aristasura.
This post started of researching the parallels between Krishna stories and Hercules labours. The origins in my opinion, lay in astronomy. To the end of this post a story starts to emerge if all things and history is taken into consideration, that might rewrite current known history.
Hercules and Iolaus figthing the Hydra. (not the sickle and the club)
We know Hercules is orion, who is is helper, its Boötes
Quote Wikipedia: The name Boötes was first used by Homer in his Odyssey as a celestial reference point for navigation, described as “late-setting” or “slow to set”, translated as the “Plowman”
Quote Wikipedia: Balarama, is also known as Baladeva, Balabhadra, Haladhara and Halayudha. The first two epithets refer to his strength, the last two associate him with Hala (Langala, “plough”) from his strong associations with farming and farmers, as the deity who used farm equipment as weapons when needed.
I hereby Identify and link Krishna and BalaRama to Orion and Bootes, the gemini half brothers, like hercules + iolaus, hercules + Apollo and Cain + Abel.
We can see there are Parallels between India and Greece stories under disguise of different names. Others have identified Shiva nataraja allready with Orion.
The question that arises is was it just astronomy that was told or was there also a ‘real story’ of history behind these myths.
Krishna fighting Sesha is hercules fighting the Hydra.
The story of Enkidu and Gilgamesh slaying the bull of heaven is similar to Krishna and Balarama slaying the buffalo demon Aristasura.
It is also related to the Mithras myth of the bullslaying, which is astronomical in nature as well as this great book explains highlighting the meaning of the bull slaying statue and identifying scorpio, hydra, canis minor and the bull Taurus, the sun through the year.
The “twin brothers” is a reference to Gemini. (Note the red and blue colour, as explained in my article The universal religion.
Of very specific noteworthy mention here in above picture of that ivory tablet, showing the cain and abel scene, is the inclusion of that PILLAR. That is a direct reference to the sky (pillar of heaven) and thus to constellations again. The pillar of heaven is a synonym for the skies, like we see in Mycenae and the Asherah pillar great godess cult.
Now lets move on to interpret the Cain and Able story.
Cain the farmer, is Bootes
Abel, the Pastoralist,or shepherd, is orion
The stars/skies rotate. Constellations rise in the east and set in the west.
First Abel (Orion) sacrifices his best ram. That is Aries. Aries is the first constellation to go down the horizon. After that it is Orions turn to fall below the horizon. Bootes rises after Orion and effectively “kills” Orion from the skies .
We can conclude like the romans woshipped Hercules, Hercules, the TRUE SHEPHARD OF ANU, is also the PASTORalist, the good shepherd (and thus by default the later Jezus)
Quote wikipedia: It was Cain, the agricultarilist, who Cain continued his wickedness in Nod: resorting to violence and robbery; establishing weights and measures; transforming human culture from innocence into craftiness and deceit; establishing property lines (which we see today); and building a fortified city. Nod is said to be outside of the presence or face of God. Origen defined Nod as the land of trembling (volcanic) and wrote that it symbolized the condition of all who forsake God.
Nod was EAST of the garden of Eden. This is of suspected importance later.
The synonyms of the shepherd are clearly there. Both the first and new testament are astronomical stories. Although Orion as the shepherd (and not as hunter, we have to dig deeper in time into astronomy)
Hercules/ Orionwas the spring constellation, resurection at easter, sounds familiar? When the land became green, the green man as seen in northern cyltures, hence its green colour, or the cerne giant, all worship of the orion constellation in other forms, with his big phallus, symbolizing fertility of the land and the male symbol. (arche
Hercules/Orion the cerne giant. It was found there was a lions skin as well during archeological excavations. The Hercules connection is strengthened by the 1996 discovery of the cloak, as Hercules was often depicted with a cloak made from the Nemean Lion‘s skin.
Noteworthy is Adams third son, Set.
In Egyptian mythology, Set is portrayed as the usurper who killed and mutilated his own brother Osiris. Osiris’ wife Isis reassembled (remembered) Osiris’ corpse and resurrected him long enough to conceive his son and heir Horus.
Again, a battle of 2 brothers. Even though it can be related to the stars, like many other similar myths, where did the original story come from that was the basis of naming the constellations as such?
Hence we can confidently say that that Orion was Able in the old testament and the true shepherd Jezus in the new testament (together with the 3 kings stars of Orion and Sirius for the star of Bethlehem), and the basis of the churchs pontifs regalia, together with the Mitre (fish hat) for the age of PISCES. (tThat came after the ram and after the bull taurus) Hence Jezus’ particular “fish”symbolism and Oannes / Johannes the fisher of men.
There is a lot of hidden symbolism if you can read it / knows it relates to astronomy.
It is important to see that there is no difference between Hercules, Abel, Osiris or even Shiva in all these seperate “religions” but they are ALL linked by astronomy and different names/stories telling the same rotation of the skies.
The tree in the garden of eden relates to the skies and world tree of pillar of heaven (Mycenae) and the snake in the tree is the constellation is hydra. However that is to much to explain here as that is the tree of life symbolism. I have covered that elsewhere.
(one example: Indra and Vritra, using Dadichis bones to slay Vritra. he made a Vayra or lightning bolt weapon of of the bones.. https://en.wikipedia.org/wiki/Dadhichi) This is not taken literally, he used a constellations “bones” I suspect sagitaurus (half horse, horse headed), to kill the later hydra..
Indras battles are astronomical in nature like Hercules labours. Another example is the battle of Indra with the ashwini twins, another reference to Gemini..
We see now that multiple Indian “main” books, the RIGVEDA (Indra) and the MAHABRATTA (Krishna) all are astronomical in nature and that these stories are identical to Greek mythology stories, just different names where used but the underlying rotation of the skies and the relation to constellations is clearly present.
Dadhichi is said to have been a master of a Vedic art known as Brahmavidya (Madhu Vidya) that would enable one to attain immortality.Indra, the King of the Devas, felt his position was insecure with such power in the hands of a mortal man, especially one with as much power as Dadhichi possessed by virtue of being a rishi. Indra was also against the Ashwini twins (Gods of Medicines) learning Brahmavidya and swore that he would behead the one who taught them the art.
However the Ashwini twins wished to learn this art and devised a plan to protect Dadhichi from Indra‘s power. They learned the art from Dadhichi after cutting off his head, preserving it and replacing it with one from a horse. Indra, blinded by his wrath, beheaded the horse-headed sage and left.
The Ashwini twins then put Dadhichi head back’s and revived him with the Madhuvidya that he had taught them. This was how the sage came to be called Ashvashira – The One with the Horse’s head.
The sage of medicines is the later Aesculapius or the constellation Ophiucius.. This requires further research.
Shiva and Durga
Lets go back to India and see if we see any further parallels. We have identified the main god as Hercules/Orion. (with the bull Taurus)
Adam (Orion) and Eve (Virgo) being the prototypes noted in the bible. We also see a male female link in India, namely Shiva and Durga.
If we establish Shiva is also Orion, linked to Taurus, then we have to find Durga in the skies.
Lets look at the below. The first image finds her. It is VIRGO.
Durga is often seen with a tiger, also with a lion, she is the prototype of Isis, Brittania, Helvetica and many others. Notice the exact same symbolism?
Why, because she is the constellation of VIRGO, her lion is LEO. Related to the Sea with her trident (like poseidon in above pictures) as the bottom half of the skies was a sea and the top a sky.)
The cross on the shield (and of the catholic church), in the flag of Switzerland and the union jack is a direct reference to the zodiacal cross (or symbolic tree of life) as explained in my article the universal religion.
The lady to Virgo. The lion to Leo, the Cup to Crater and the lion to Leo.
It is worth mentioning that the sun was female in ancient days and the moon male, the god sin. Or what we see here is a combination of opposites, I am not sure of that but this article explains it. http://www.lionpath.net/zwoelf.html
Back to Krishna
In terms of the indian stories, a story emerges in the stars of a dark brother (krishna blue is also dark) and a light brother, that needs further investigation and is omitted/excluded from Greek mythology.
Balarama, the white one was a brother from another mother, but a brother none the less.
Quote wikipedia: Balarama’s legend appears in many Parva (books) of the Mahabharata. The Book Three (Vana Parva) states Krishna and him to be brothers born to separate mothers, but one father. Book One (Adi Parva) states the circumstances that lead to light skinned Balarama, and dark skinned Krishna. Book Thirteen (Anushasana Parva) presents the mythology of Sesha’s incarnation into Balarama, as Vishnu incarnated as Krishna, likely reflecting the basis why most of ancient and early medieval artworks of Balarama show a snake hood on top of his head.
Why are Indian and Greek and Sumerian myths based on similar astronomy and altered accordingly slightly but still identifiable as the same. Its the tale of the two brothers the farmer and the animal keeper and the offering to god, where abel (Hercules or the true shephard) was “slain” as the farmer by his brother Bootes (Cain) because the offering to god was seen as “better”.
The above image is slightly confusing as in 1 image it incorporates both of orions symbolism, the bow and the club. Now who is who exactly?
As you see in the gemini image colour, Bootes, the farmers, (balarama) colour red, (the white farming race) or Cain that went east of eden (europe) and build fortified cities (myceanan pre greece), so red was directly linked to the white race in a way. Blue, the dark race. The cow herders and shepherds are possibly the Indian civilization, the more peaceful race. (never waged wars)
Apollo, was blue and with an instrument(harp), just like Krishna and Shiva had an instrument.(Peace)
Rama and Lakshmana
Note the skin colour difference again, as pointed out earlier between the “brothers” Is this all the same story with different names?
Was there a brother war? Yes there was..
I suspect a racial war in the past where the white race split from the darker race, even though they where “brothers” The white race moves east (to greece/europe) but had the same origins/roots possibly near India.
Is that why Adolf Hitler choose a red flag for his Nazi empire and was he searching so much in that land.
Adam, also means red in Hebrew. Hebrew אדם (‘adam) meaning “to be red“, referring to the ruddy colour of human skin. It would indeed make sense from an occult perspective but thats for another time to dicuss.
The colours symbolism is more explained in the universal religion post of which this post is an adendum.
Why is there a “dark brother and a light brother” legend not found / mentioned or omitted in Sumerian and Greek mythology. Vague remnants are there in the stars (Gemini) and the bootes/orion story.
However it is sort of mentioned in the sons of Noah which is based on the indian story of Manu. There where 3 sons, Shem, Ham and Japheth . The arabic race/shemites, the white race and the black race. I need to check further references to the Manu story.
What is also of considerable interest is the duality between hercules and his club and apollo with his musical instrument, a war vs peace scenario, that is also seen in the US eagles talons, and later depictions of brittania, wheat and spear/trident. So the godess Durga, is also the main godess of Brittain, Brittania. The Danu(va) race.
The indians are a peacefull, mostly vegetarian race that have been invaded but never fought wars themselves. It is also interesting to look into that specific dualism.
Is this a remniscent of the faith of the world that alternates between period of war vs periods of world peace, like it becomes summer and winter, the Yuga cycles?
Are these stories showing a split/war in ancient times, between Pastoralist and Agriculturalist? Meat eaters vs non meat eaters? White race vs Black race?
It points into that direction. The agriculturalist cain was expelled from the garden of eden, but perhaps this story was misconstrued and it was actually good to eat no meat as killing is not good. Perhaps this history was rewritten by the victors, the PASTORalists… descendants of Cain, who build fortified cities in the mediteranean, listed land ownership and did all that Cain did..
Abel, might actually the Indian race. The agricultural non meat eaters.
If we look at the Egyptian Pharos tools, he is carrying both the shepherds crook (pastoralist) and the flail (agriculturalist)
Later minoan civilization and the mycenae Civilizations where showed a BULL cult, related to Taurus, indicating mainly Pastoralist.
Veda Vyasa is the title and the name is Krishna Dvaipaayana just as in Dr X (name) Dr is the title and X is the name. He was named Krishna because he was born black, and since he was born in an island (WHAT ISLAND??), he was named Dvaipaayana.
All the three (Dhritarashtra, Pandu and Vidura) were the illegitimate sons of Veda Vyasa.
Dhritarashtra was conceived by Ambika
Pandu was conceived by her younger sister Ambalika. (umbilical cord??)
Vidura who grew up to be a replica of Dharma (righteousness) as predicted by Veda Vyasa
Both Ambikaa and Ambaalikaa are daughters of Kaashya, the king of Kaashi (Varanasi or Benares). Dhritarashtra (DARK RACE / HAM) – was born blind because Ambika, having been frightened of Veda Vyasa’s appearance, shut her eyes completely during copulation with Veda Vyasa. So Veda Vyasa had to repeat the performance with Ambalika. Everything went well here, but, again on seeing the fearsome appearance of Vyasa.
Ambaalikaa (WHITE RACE / JAPETH) – turned pale during the niyoga act . So the conceived child was born pale and he was named Pandu.
Indian albino. Perhaps the ‘deformity’ that was spoken of and the progenitors of the white race. Facial features like nose, eyes, facial hair, between Indians and europeans are similar minus haircolour blond and red. I propose that an Indian mutation is described in the mahabaratta and could possibly be origin of the white race.
Now the person behind all these arrangements was none other than Satyavati (royal mother, mother of the deceased Vichitraveerya and mother-in-law of Ambika and Ambalika) whose first son was Veda Vyasa who too was illegitimate. Now Satyavati had summoned Veda Vyasa to impregnate the issueless two widowed queens (of Vichitraveerya) Ambika and Ambalika in order to obtain a legal heir to the Hastinapura throne. Since the previous two processes did not produce the desired result, that is one normal healthy heir to the throne, Veda Vyasa was summoned for the third time by Satyavati.
Vidura (Shemetic race / SHEM) – Ambika agreed to go through the ordeal again. But, at the last moment, she could not muster sufficient courage to face Veda Vyasa. So, she sent her maidservant in her place (similar to abraham and Hagar). The maid had intercourse with Veda Vyasa in full attention and with full devotion. The result was the birth of a normal child with no disability (white colour or blindness). That child was named Vidura. (Indicating this was also a dark child)
Now both Dhritarashtra and Vidura did not qualify for the throne of Hastinapura because the former suffered from the physical disability of blindness, and the latter, being the son of a maidservant.
*Note: Could this indicate the 3 sons of Noah, noahs sons, a dark race (Ham), a white race (Japed) and the Shemites (The chosen ones / Dharma) It also faintly reminds of the story of Abraham who also has intercourse with a maid servant Hagar (ishmael)
Descendants from Dhritarashtra (elder line of King Kuru) Pandu was a half brother.
Eventually the Kauravas loose the war and only 1 son, Yuyutsu stays alive as he fought on the side of the Pandavas:
During Kurukshetra War: Before the onset of the battle of Kurukshetra War between Kauravas and Pandavas, Yuyutsu shifts from Kauravas to the Pandava camp. Yuyutsu fought the battle on the side of the Pandavas. He was one among the 11 Maharathis (capable of fighting 720,000 warriors simultaneously) among the Kauravas. Yuyutsu was one among the eleven warriors to have survived the war.
After the war: When the Pandavas decided to retire from the world at the start of the Kali Yuga (THIS INDICATES BEFORE CAME THE BRONZE AGE!!) and departure of Krishna
This indicates that India was rules by the last remaining Kaurava while the Pandevas moves to Sumer and Europe.
This also aligns with was was said about Cain, he moved to the trembling lands and build fortification cities in the mediteranean (mycenae citadels) As per timeframe, PRE Kali Yuga, which is iron age, this would place these events in the BRONZE AGE, exactly the time of the Mycenae Mediterranean Pelasgian civilization..
Two brothers fighting……
Both show descent from Kuru yet they fought together. (Different lines indicating different mothers, which could make a black and white race)
Did the pastoralist , Cains descendants, move east to the land of Nod, that trembled (Volcanic greece)
Was there a split between the white race and the dark Indian race at that time after the Mahabaratta war.
Did the Pandevas move east and started the greek and western civilizations?
Due to disability (blindness) of the other brother and child of maid servant) and the basis of the biblical Cain and Able story, that was specifically captured in astronomy (gemini) and in the blue and red occult symbolism in the later western world and also this would make sense why Hitler had such an interest in India.
All of Kaureva where killed, except 1 child of the slain brother , Yuyutsu, it seems the pandevas became king , heir to the throne of Hastinapura
Yudhishthira (Pandeva) gave the charge of supervising the kingdom to Yuyutsu (the last remaining Kaureva descend)
The stories of the Ramayana and Mabharata, are also displayed in the wayang art are at the core of Hinduism, the oldest and most important books. Could these books be hidden in the stars in the form of western constellations and point to a common story?
We could speculate, that all this information combined, would elude to an extremely interesting VEDIC ORIGINS of the Caucasian race as a half brother of the kingdom of Kuru and basis of the Cain and Abel (and third child Seth) story . Abel left no heirs (or did he) and Cain’s heirs, according to tradition, were destroyed by the Great Flood. (The volcanic etna explosion?)
In any case, The story that is depicted in the stars of the two brothers if you combine the constellations. That the Cain and Abel story is a form of the story of the Mahabaratta war.
It seems the naming of the constellations was initially to tell the story of the two brothers and the war at that time and the red and blue colour to elude to a dark race and a white version of race with the same dark father, giving information that the white race might have migrated from India to the Mediterranean, where they consequently build the bronze age fortresses and gave rise to the Greek civilization as the Pelasgians.The time period, before the Kali Yuga (iron age) fits in perfectly and would explain the rise of the European civilization.
*update 1 June 2018
A study on mice migration (linked to agriculture) shows exactly what I tried to argue here above.
The highest concentrations are in the northern India area where the mahabaratta royalty lived and Greece.
This blog post captures my own research into why they build pyramids worldwide and how these structures / temples are related to each other. I tried to understand why a whole world started building similar structures, ignoring the obvious answer of “its the easiest way to build a tall building” and “these cultures are not related”.
I started looking for a possible deeper meaning behind this worldwide pyramid phenomena.
It started to make sense after a first clue, pyra-mid, which translates as fire in the middle. Ben ben was symbolic for “primeval mound”
The word PYRAMID according to Stephen Mehler:
“The word pyramid is derived from the Greek words PYRAMIS and PYRAMIDOS. The meaning of the word Pryamis is obscure and may relate to the shape of a pyramid. The word Pyramidos has been translated as “Fire In The Middle”. In alignment with the indigenous tradition, we use the interpretation “House of Nature, House of Energy” for Per-Neter.”
It is rather interesting that the Egyptian word for pyramid was MR, or MER, awefully close to the Hindu MERU and suMER. SU meaning “good” in sanskrit.
Then I went to browser for certain pyramids and temples in the world. We know the ancients revered the primordial mountain as per Egyptian religion. The “mountain” re-occurs in many religions worldwide.
Quote: “It was given different names in different cultures. The Egyptians knew it as the Primordial Mound, the Israelites as Sinai and Zion, and the Greeks as Olympus and Parnassus. Further afield, the Indians called the divine peak Meru or Sumeru, the Chinese Kun-lun, Sung-shan, or Bu-zhou, the Icelanders Himinbjörg, the Aztec Colhuacan, and the Choctaw Nunne Chaha.” Source
Besides the Meru domes of Indian temples, we even see this mountain shape in Sardinian wells if seen from the air, a “mountain” with a (pole)star on top. (the star constellations and planets are “the gods” on top of the mountain)
*Note the flattened trapezium shaped pyramid shape and on top a “pole star”.
Santa Cristina stepwell Sardinia, seen from the air.
I always wondered to the surrounding rings but think it is starting to make sense. Also not the “not perfect pyramid” shape like the largest Egyptian pyramid. Could it actually be a depiction of a volcano?
Many Asian temples are in a moat, like an island. For example Angkor Wat with a mountain like building as temple. The Vimana of Hindu temples representing mount Meru. The primordial mountain/island.
There is one very important link researchers and academics worldwide might have missed, which is, the possible relation to the volcano.
“The pyramid (and later temple mounts) could be culturally linked to the volcano worldwide.” – Stijn van den Hoven
Cono de Arita is a volcanic cone that rises unexpectedly in the middle of the salt pan, near the border of Salar de Arizaro, in Argentina
So can we prove pyramids (or temples) are related to volcanoes?
Not only is the pyramid a representation of that primordial mount that rises from the sea, water and fire combined, it is also directly related to some of the world largest pyra-mids, so obvious in plane sight as a background to the building but not explicitly mentioned as related to it, as far as I know by anyone. Not in relation to this subject in Meso America and also not in a global relation in different countries worldwide like Bali that it was the volcano that caused the temple or pyramid to be build.
Some pyramids and temples are directly positioned on or near such volcanoes making it a small copy of the large mountain behind it as seen in Mexico AND Bali, an ocean apart, with no cultural links whatsoever according to conventional academic research.
Was it mere coincidence they both framed the volcano? I suspect not.
The Aztecs gave the name Miccaotli Street of the Dead or Calzada de los Muertos in Spanish) to the broad, street-like series of connected plazas in Teotihuacan.
The main buildings are connected by a 130-foot- (40-metre-) wide road, the Street of the Dead (“Calle de los Muertos”), that stretches 1.5 miles (2.4 km); oriented slightly east of true north.
It points directly at the nearby sacred peak of Cerro Gordo, not any mountain, again a volcano..
The Street of the Dead was once erroneously thought to have been lined with tombs, but the low buildings that flank it probably were palace residences.
I do not think the pyramids are the pyramids of the sun and moon. I think they represents the two large volcano’s south-west of Mexico city and that the reason is that the street of the death connects to 1 pyramid is exactly that. Because the volcanoes caused massive death to a pre-civilization.
I noticed that the old Toltec city of Tula was on the other side of Mexico city much closer to the volcano’s and that the newer cities are deliberately further on the other side.
Could Teotihuacan and Cholula be cities that came from Tula
that was abandoned and destroyed by volcanic erruptions?
Is that the true meaning of the pyramid shape? Is that the reason why they mimicked the two mountains as pyramids in Theotihuacan and linked the street of the death directly to 1 pyramid. Let’s carry on to the largest pyramid in Mexico, where the catholic church build a church on top. Check what is behind it..
Perhaps this picture shows it better.. That’s right, a massive volcano.
The great pyramid of Cholula, with as backdrop the volcano it replicates.
The great pyramid of Cholula, Mexico
Another weird find is this. A man made mini volcano. Named “el Volcan”
Quote: “In the 1960s, archaeologists had noted the volcano-like mound and identified it as artificial, but Benfer and his team decided to investigate further.”
The reason for Balis’ temples on the slope of volcanoes or Cholula in front of volcano pre-dates Hinduism and relates to the core of the pyramid culture.
Lempuyang Temple, Bali
Mother Temple gate in Besakih is on the slopes of volcano Mount Agung .
Here the gate of Pura lempuyang temple in Bali. Again a volcano is framed perfectly in its view, identical to the Cholula Pyramid in Meso America. Mount Agung or Gunung Agung is a volcano in Bali, Indonesia, south-east of Mt Batur volcano, also in Bali. Gunung Agung strato volcano is the highest point on Bali.
View of Angung volcano Last eruption: 21 November 2017
Elevation: 3,031 m
Prominence: 3,031 m
Translation: Paramount, The Great Mountain
The most important temple on Bali, Pura Besakih, is located high on the slopes of Gunung Agung volcano.
It is no secret Egypt God Ptah was an earlier form of Hephaestus or Vulcan, again the volcano link is obvious.
If this is established we then can ask ourselves why we can see similar cultural links between temples, pyramids since these cultures are not related according to academic scholars and “just the easiest way to build a tall structure” The answer to why pyramids where build, besides, tombs for Pharaohs was never given, nor was any Pharaoh ever found in “their tomb”.
A symbolic memorial tomb however, as message to the future might explain the effort made if millions died in a catastrophic volcanic event in the past.
Besides having shown in my Makara paper clear cultural links across the pacific, here again a interesting similarity appears, both religious constructions, a temple in Bali and a pyramid in Mexico, is clearly linked to the Volcano.. Is this another “coincidence” or does a picture start to appear.
Questions arrise. Why was the worldwide bird cult so important?
Why was Vega a vulture, a bird of death and the ‘Pharaohs chicken’? Why we see a global “mount cult”.
I suspect a global volcanic cataclysm occurred in mans history that later gave rise to pyramid monuments worldwide and perhaps the memorial on Easter island as closed to an Atlantic mother continent perhaps, although that is mere speculation. Perhaps future excavations reveal more as there is a lot of soil deposited on the statues and the island as a whole.
Scientist have proven increased volcanic activity occurred due to less pressure on the mantle from melting ice in the last ice age. This would have triggered volcanic eruptions and tsunamis worldwide destroying civilizations and causing world death. A vulture would be the right image for Vega and basis for the bird and pyramid cult worldwide.
The bird on the mountain(Vega, vulture Cadens) and killing people on Mayan Pyramids might be what Mayan priest symbolically re-enacted dressed in bird costumes doing sacrifices. It might be why the priestess of Mu Egypt wore feathers from vultures. Mu the motherland.
Atlantis was the homeland of the Egyptians. My thesis is pyramids are volcano representations and a symbolic remnant of a destroyed motherland as memorial to their ancestors. Since in Egyptian pyramid is Mr, there is the Sudanese Meroe culture(meru), SU Meru means good meru. There is even a volcano named sumeru on Java. The Nile, Nila for bleu in sanskrit, the lotus flower, the cobra I suspect Egypt was a vedic colony. The oldest worship is Agni or fire altars, which would pretty much fit in with a volcano.
There is a book written on sundaland which might be a possible location of the motherland.
Atlantis was ‘beyond the pillars of hercules’ . What if this was not a physical location but a reference to a time. The only pillars of hercules in the sky is Ophiuchius, which gave rise to many storm deities after that including Viracocha. I even suspect the Samson story links to this. (pulling down the temple) specifically note the harp in the picture. That is Vega/Lyra I think.
Samson pulling down the temple.
What if the global pyramid cultures only started after leaving the (Asian vedic) motherland as remnant of the volcanic deluge and dispersed in direction of Ireland, Europe, Greece, Egypt, Peru and India and seeded the globe hence the similarities in culture and the globally seen staff deity for Ophiuchius, Orions (Hercules) exact 180 degree counterpart in the sky. Above him sits the ‘real’ Hercules again but Hercules occurs in multiple places in the zodiac, for example also one of the twins gemini.
Ophiuchius, in my opinion the storm God in any culture as staff or storm deity. See my article the universal religion.
Vega (in Lyra), the vulture (or harp) and Aquila the eagle are basis for the US eagle and the double headed eagle of freemason and Garuda, as described in my birdman article that links also to Easter island. To me a picture starts to form. Many names in tiuhanaco have sanskrit links. Kala (time) and Vira (man) cocha (mixed ancestry) are some of them. It would explain the similar reed boats found in Egypt, Indus Valley and lake titicaca Peru.
The arrow sagitta, near Vega, killed the cyclops or cyclopeans in Greek myth. The ‘Single eyes’ . Writer Richard Cassaro thought the cyclops where the bindi wearers. This could then well be another reference to the Vedic Asian homeland destruction of the megalithic pre civilization.
There are stories how a single arrow with fire at its end(comet?) destroyed the 3 cities. Perhaps a comet impact triggered the volcanos.
Quote: “The Danavas including Maya was present at the time Tripura was fuming! The torment caused by Tripura was unbearable that the Devas asked Shiva to kill him. He did so by using a single arrow. The killing of Tripura by Shiva was described as Tripura samhara. The exact process of killing is described in the Sangam Tamil text called Paripadal which is an exact description of the destruction caused by a Volcano.
Features of a Volcano
Paripadal – 5 says
“naaga naaNaa malai villaaka
moovagai, aareyil Orazal ambin muLiya”
(நாக நாணா மலை வில்லாக
மூவகை ஆரெயில் ஓரழல் அம்பின் முளிய)
Naaga – snake naaNaa – as the string (of the bow) malai – mountain villaaka – as the bow moovakai – 3 types aareyil – walls (fortresses) Orazal – a single streak of fire ambin muLiya – at the end of an arrow – killed
That is, Shiva killed Tripura with the mountain as the arrow and the snakes (mantle / magma) as the string, he blew the 3 fortresses of iron, silver and gold (molten material) by shooting a single arrow which has fire at its end. The snakes – as we told before – personify the magma trying to come out.
This describes the sudden and powerful eruption of fire and mantle from inside the mountain (volcano) which resulted in the complete collapse of the volcano.”
It also might be represented by the statues on Easter Island, deliberately placed on a volcanic island to symbolize the destruction of mankind as a warning to the future, intended to be buried by the volcanic ash as a massive memorial and message to future mankind. Massive amounts of soil are covering the huge statues.
Researchers have found charcoal in the peat suggesting the islands vegetation was burned by its residents, I suspect the volcanoes actually did this (and buried the statues) and the statues where intentionally placed on a volcanic island in the pacific as a memorial to a deluge volcanic destruction. Further dating when the statues where placed and by whom and why there are megalithic walls similar to those in south America needs to be done by archaeologist. If we know the statues are so large, how deep does that wall go?
How deep does that wall go since the moais are so large?
This would be the first place I would excavate. Thor Heyerdale also found more walls on Easter Island.
And if statues are covered so deep under sand/ ash what more lies hidden on this island and where these statues intentionally so large to be able to withstand numerous eruptions before fully covered as a message to future mankind? Why did they not dig at the wall to see how deep it goes since only a head of a Moai sticks out there as well?
How long does it take to cover these statues so deep in soil. How many eruptions of the 3 nearby volcanoes or tsunamis? This should be easily answered if we see in which direction the statues have fallen, if it was eruptions or tsunami’s. In any case, The depth of the soil is huge, so what else is hidden on Easter Island..
Monuments rather than tombs or symbolic tombs warning future mankind of the worldwide catastrophe that killed so many. Hence perhaps Pyramids where never tombs yet symbolic tombs and a pending warning to mankind and Easter Island was also such a memorial to testify to such a deluge.
This is is my opinion the true reason why pyramids where build worldwide. Combined with later astronomy to mark a time in man’s history many thousands of years ago.
Obsidian, cinnabar are all related to volcanoes as their pyramids and early gods where.
What if the pyramid was a memorial, a symbolic Tomb of millions, due to worldwide volcanic eruptions, tsunamis and a total blackout of the skies combined with a scorching hole in the ozone layer in a downwards spiral effect. Is this why there are no mummies ever found in old pyramids as they where merely a symbolic “tomb” or memorial in the beginning.
Further more astronomy was practised, the priest dressed in bird feathers on top of pyramids sacrificing people could be an enactment of either their sky god bird / vulture / eagle Vega, killing people. Together with the volcano symbolism or being an re-enactment of their maize god constellation being “sacrificed” on top of the mountain. There is no difference to the Olympian gods on the mountain.
An interesting fact is that the mountain where Noahs’ arks landed, mount Ararat is also a twin peak strato volcano. The story of Noah was plagiarized by the church from older Sumerian and Indian accounts. (flood of Gilgamesh, flood of Manu,Utnapishtim etc https://en.wikipedia.org/wiki/Flood_myth)
However it does shows a link between a volcano and a flood story. Again two volcanic mountains that look like natural pyramids.
The link of pyramids to the volcanoes as memorials to volcanic eruptions that created a deluge has, as far as I know never been published in this context and deserves further research.
A recent article on national geographic did point out also that pyramids could have been modelled to volcanos.
In general, Sheets said, volcanism was an integral part of ancient Maya life. Some of the temples in the highland Maya cities, for example, mimic sacred volcanoes. “The temple buildings have doorways in the tops, where they burned incense, and the rising smoke was used to carry various messages to ancestor spirits and the deities,” Sheets explained. But whether temples at Tikal—where no volcanoes were visible—and other lowland cities were similarly inspired is unclear.Volcanic eruptions also fit into the Maya worldview that life is full of phenomena that can be either hazards or opportunities, and that human behavior can tip the balance, Sheets said. For the Maya, a smoking volcano wasn’t always a harbinger of doom. Humans could turn its ash into a benefit, such as fertilizer or additives to strengthen pottery clay.
Study leader Tankersley emphasizes that the unpredictable mountains, too, were at the crux of Maya culture. “They built temples in the shapes of volcanoes, and their ceremonies replicate volcanic events,” he said.
“To the Maya, volcanoes were part of life—an essential part of their life.”
One could question if this was only for the Maya, or also for the Balinese, the Egyptians and many other cultures and if this cultural aspect of the volcano was related to a worldwide cataclysmic event instead that made them build pyramids modelled after volcanoes all over the world.
Mayan relief what appears to be an exploding volcano. Note the spear/arrow in relation to the earlier hindu tale.
Teoberto Maler was an Austrian-born photographer and archaeologist who discovered and photographed a frieze on the main Mayan temple at Tikal, in the Yucatan peninsula of Mexico, which appeared to depict a drowning man and another escaping from sinking land in a boat, while a volcano erupts in the background. Maler was convinced that this was an illustration of the destruction of Atlantis. Unfortunately, he had the frieze removed to the Berlin Museum where it was destroyed in the bombing of World War II.
In 1939, Robert Stacy-Judd included a photo of the frieze in the book “Atlantis mother of all empires”
This, combined with the other evidence presented and links to volcanoes, might be worth further research and considering the link between volcanoes and pyramids as a deep rooted message to future mankind that was the basis for a cult that came after such a deluge and might have been the basis for a global pyramid and temple mount culture.
A temple mount culture that later had the gods on top in form of constellations and resulted in our modern age “religion” of 1 god, the original message and warning and the reasons of the pyramids and Meru shaped temples, lost in time.
This research was published by Stijn van den Hoven 29 April 2018
*Update: 1 June 2018
I learned today that the megalithic site of Gunung Padang in Java also alligns to a stratovolcano.
I noticed Andrew Collins wrote about this specifically and I never saw the article until a recent video from megalithomania conference where he presented this info as well. It just adds to my theory that is presented in this article.
He also briefly mentions Vega to which I have said is the vulture stonevin gobleki tepi while he focused more on Cygnus before.
Again Vega makes an appearance for me in relation to the volcanoes.
From the article of Andrew Collins:
Quote: “Yet clearly visible beyond this hill when viewed from Gunung Padang is a double-peaked stratovolcano, which bears two names: Gunung Pangrango (its western peak, which rises to a height of 3,019 metres) and Gunung Gede (its eastern peak, which rises to a height of 2,958 metres). This lies at a distance of approximately 15 miles (24 miles) from the megalithic complex, clearly in view of the stone settings on all five terraces.”
Other than this I wondered if the site of candi Sukuh was related to volcanoes and indeed it was being build on a slope of a stratovolcano as well.
The 15th century temple of Candi Sukuh, on slopes of Gunung Lawu (strato volcano) , east of Solo, thought to be linked to fertiflity cult, island of Java, Indonesia, Southeast Asia, Asia. It’s also the location of a storm deity identical to Sumeria.
Marduk. Note the sickle and the vayra bolts.
I am still trying to find more sites and looking at the borobodur alignments as well. To be continued.
If Gobleki Tepi focusses on Deneb, as per Andrew Collins diagram, it then is very obvious what the vulture stone next to the circle stone indicates. The vulture stone was never Cygnus, it is Vega.
That be LYRA (VULTURE cadens), Scorpio is also on that stone (and why they haven’t excavated that one properly beats me as one then can see the other constellations) What the vulture is holding as a circle is VEGA.
Diagram from Andrew Collins The position of the Vulture stone is of great significance.
The star reference and constellation usage of Gobleki Tepi is thus pretty obvious. The mysterious birdman, with its egg in hand is that region of the sky, Lyra with VEGA. Here in its beak.
So I would say Andrew Collins was looking the right direction, yet picked Cynus and Deneb instead of the real Vulture Lyra.
Not only is that of significance, as the same bird with “egg” in hand is clear in Easter island and Tucume (https://www.kon-tiki.no/expeditions/tucume/) as excavated by Thor Heyerdale and where he found “the bird and the egg motif”
The birdman is also seen in Tiuhanaco on the gate of the sun
One could argue that this wordly symbolism later transmuted in the double headed eagle man here seen in bactrian art, in that case vulture cadens and aquila combined. Ophiucius with heads Vulture Cadens and Aquila. The double headed eagle.
Bactrian boar ax head art (the boar is Lupus)
And was basis for the later double headed eagle. Also the 1000 yrs old idol of Gandabherundaman can be derived from this place in the sky. The double headed bird man makes sense, as there are two eagles there, Vulture Cadens and Aquilla.
And the Sumerian Eagle man (again with bag) The mystery “bag” has always been a symbol for the arc of heavens. So what the bird is holding in its wing is the polestar VEGA. The fruit of the tree.
It is merely a later or different representation of the Gobleki Tepi Vulture stone.
And the double headed eagle of the freemasons and royalty.
This would make perfect sense since the US seal is derived from the Lyra Constellation as well. The US eagle is Vulture Cadens..
The Arrow Sagitta said to have killed of the Cyclops / Cyclopean civilization to which most of the megalithic constructions are attributed.
What does this mean.. That from easter island till Sumeria similar astronomy was found and that the birdman is the constellation Lyra with the very old polestar in its hand. It means that astronomy is that old and that the same birdman was known worldwide. That seems to far fetched for coincidence and might point to some form of cultural exchange.
HISTORY OF RELIGION: Once there where Animals/Plants- People started agriculture and needed to measure time – They started using stars to measure time for planting/breeding – Then they started naming constellations to keep easier track of groups of stars – Magi or priest astronomers added constellations and made these into stories of people/gods/demigods to track the rotation of stars into a year (Demeter going into underworld/below horizon) – Naming main god their spring constellation/fertility of the land Osiris/vegetation god/Orion/Hercules the giant – For ego and control learned priest/kings identifying themselves with the constellation/god in sky as reincarnation of god on earth on top of temples fooling unschooled people with these stories as them being men of god. Changing to the single man in the sky, forgetting about what the stories/allegories actual where for (the stories where classified as Myths) – There was a god in the sky and a devil in the underworld, two opposite constellations summer and winter respectively. Also creating stories about Easter bunny (Lepus, the hare at spring , with its eggs as hare and eggs is fertility. The Egyptian PER hare glyph, which was another name for Osiris (orion) and later came Santa Claus with his reindeer (deer lunar mansion Mrigashira with Rohini aldebaran as red nose) which now sits in winter due to precession) having a bible with 12 apostles/12 zodiac/4 main evangelist/corners of the zodiac signs and the sun Jesus and nobody knows what it means any more – The main spring constellation became a single main god (Jesus resurrects at spring) – And a single god – numerous cultures telling same story related to astronomy but nobody knows its true meaning any more – People forgetting about why temples where build with encoded timekeeping in it or cross as tree of life. – Stijn van den Hoven
No mention or link was made to Egyptian obelisks or the sacrada familia pillar.
This needed deeper research.
I visited rome and all obelisks there and noticed the turtle symbolism at the base in relation to carrying egyptian obelisks in Florence and the Vatican. However not all obelisks had turtles.
The London obelisk had a seemingly unrelated bronze khepri beetle Egyptian style ornanement at the base holding it up.
Then by coincidence i came across the New York central park one. Londons sister twin obelusk. I thought yes turtles but again something different. Crabs.
Cleopatras needle in New York central park is held up by crabs at the base instead of turtles like the Boboli obelisk in florence.
But then i linked it all together. It was astronomy. Crab, Snapping turtle and Khepri is all the cancer constellation
The obelisk is related to the world pillar of heaven. In pairs as they were extremities of ecliptic. Crab, snapping turtle and scarab (at base of london obelisk) are all the same old summer solstice constellation. Now crab is in winter. (makes sense to put at bottom of obelisk as tip would be mid summer now) Yet in old days khepri was mid summer. The dung beetle rolling the sun across the sky.
And That’s also why crab/cancer is at bottom of obelisk. Its opposite capricorn or makkara around the year 0. Now taurus/orion is our summer constellation and … Winter. In 6000bc khepri or cancer was the spring constellation. Egyptians call khepri Zet tepi or the first time.
The following quoted article is relevant as background knowledge in my argument.
“What is the significance of the Tropic of Cancer, Tropic of Capricorn, Arctic Circle and Antarctic Circle? (Beginner) The Tropic of Cancer is the circle marking the latitude 23.5 degrees north, where the sun is directly overhead at noon on June 21, the beginning of summer in the northern hemisphere. The Tropic of Capricorn is the circle marking the latitude 23.5 degrees south where the sun is directly overhead at noon on December 21, the beginning of winter in the northern hemisphere. When the lines were named 2000 years ago, the Sun was in the constellation of Capricorn during the winter solstice and Cancer during the summer solstice (hence the names). Now due to the precession of the equinoxes the Sun is no longer in these constellations during these times, but the names remain. The equator is the circle where the Sun is directly overhead at noon on the equinoxes. “
Khepri the dung beetle, a metaphore for pushing the sun through the skies.
The crab constellation Khepri has the sun as its an ecliptic constellation just like taurus has the sun between its horns, the crab has the sun between its legs and thus is important as a solar constellation.
The dung beetle pushed the sun through the heavens.
“The two bronze crabs 81.2.1 and 81.2.2) are from a set of four originally used in Roman times as supports for the broken corners of the obelisk that now stands in Central Park. Thutmose III erected the obelisk about 1443 B.C. in Heliopolis, now part of modern Cairo. It was re-inscribed by Ramesses II and later moved to Alexandria by the Romans, who inserted the crabs when they re-erected it.
The Roman crabs were replaced with newly cast substitutes in 1881 when the obelisk was moved to New York and placed in Central Park behind The Metropolitan Museum of Art. The originals were given to the Museum by Lieutenant Commander Henry H. Gorringe, who brought the obelisk to New York; the obelisk itself was a gift from Egypt to the City of New York.
The claw of 81.2.1 has an inscription in Latin on the inside and one in Greek on the outside. Both state that the Roman prefect Barbarus and the architect Pontius re-erected the obelisk in Alexandria during the eighteenth year of an emperor, probably Augustus, who also built the Temple of Dendur.
Donated to the Museum in 1881 by Lieutenant Commander Henry H. Gorringe, who brought the obelisk known as Cleopatra’s Needle to New York.”
We are familiar with the sign of Cancer being associated with a crab through the Greek and Roman traditions. Indeed the Latin word cancer means crab, and this well-known crustacean expresses the Cancerian temperament very well. It lives on the cusp of earth and sea, scuttles sideways, cautious in its movements and has a protective shell covering the soft vulnerable flesh within. In order to grow, the crab must periodically shed its shell and grow another. The crab rocks to and fro with the ebb and flow of the tide, which is itself pulled by the ever waxing and waning moon, just as the typical Moon-ruled Cancerian willtend to be pulled more than most by their lunar moods and cycles. I had a lovely vision during last year’s Cancerian weekend of the humble crab actually being the unsung conductor of the moon and the tide, dancing its dance, in tune with the inward and outward flow of life. During our Cancerian Weekend, we actively embody the crab, becoming crab-like in our movements and learning the subtle dance of this unassuming yet symbolically potent creature of the shore.
The Beetle with its Ball of Dung
For the Egyptians, Cancer was represented not by a crab, but by a scarab (or dung) beetle, sacred to the Egyptians as a creature of immortality. The beetle is clearly linked to the moon’s twenty-eight day cycle. It deposits its ball of eggs, rolled in dung in the earth, for the space of twenty-eight days, which is the time it takes for the moon to complete a full revolution throughthe twelve zodiacal signs. The Egyptians considered the twenty-ninth day to be a day of resurrection, and according to lunar markings, there occurs the baptism of the beetle, when the scarabeus casts his ball into the water, opening to give birth to the young beetle. This immersion and baptism became naturally associated with renewal and regeneration. In this way, the lunar god was always declared to be self-created, never born. This symbolism seems to fit very aptly for the sign of Cancer, so seemingly introverted and self-contained.
The Summer Solstice marks the entry of the sun into Cancer in the tropical zodiac on 21st June and we can find this symbolism highlighted through the behaviour of the scarab beetle. The creature certainly carries solar symbolism, perhaps on account of its ray-like head and the dung ball representing the Sun. The scarab-beetle god was known as Khepera and was believed to push the setting sun along the sky in the same manner as the beetle pushes his ball of dung, a scene frequently depicted in various artefacts. The beetle would, for example, push the dung ball to the top of a sand ridge and then allow it roll down again, a motion that would seem to reflect that of theSun rising to its zenith in the sky at Summer Solstice before descending again. The scarab can be seen in various depictions apparently holding the sun aloft, suggestive perhaps of the solstice sun.
Khepera, The Creative Beetle God
Whether as crab or dung beetle, Cancer is always represented as a humble creature, yet one with significant powers, whether as conductor or the moon and tide or as bearer of the Sun. It is easy to overlook the humble being in our quest for success, as Hercules famously did when he crushed the divine crab beneath his clumsy feet as he wrestled with the hydra. The crab was placed in the heavens as a mark of loyalty and service and its placement at the crucial turning point of the Summer Solstice highlights its importance, however unassuming its constellation of stars may be. Its star Acubens is the only one we are ever likely to see in our light-polluted skies. Even in our Glastonbury Zodiac, the Cancer figure is the least prominent and the most easily missed. Represented as a ship (rather than a crab) its shape is drawn by the waterways created when the land upon which it stands was reclaimed from the sea in centuries past. Walking that figure last year, several of us felt that we were actually walking in the sea – the earth, just a few feet above sea level, seeming to bounce with each step – in this low-down liminal sign where the margin between earth and sea is fragile to say the least.
This article is on the goats next to the tree of life. I do have an idea to what it describes namely capricorn, which is midheaven. Just like the Makara flank the budha’s shoulders. here the goats flank the pipal tree / fig. Astronomical reference.
Sometimes sphinx or flanked by lions in later art a reference to on top a reference perhaps to leo(summer solstice) just as the goats are a reference to winter solstice. The lions where later chosen for royalty as king of animals and the goat became the devil. Winter.
Sumerian cylinder seal showing flanking goats with hooves on tree and/or mountain. Uruk period. (After Joyce Burstein in: Katherine Anne Harper, Robert L. Brown, 2002, The roots of tantra, SUNY Press, p.100)Hence, two goats + mountain glyph reads rebus: meḍ kundār ‘iron turner’. Leaf on mountain: kamaṛkom ‘petiole of leaf’; rebus: kampaṭṭam ‘mint’. loa = a species of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy).
It has been described in the story of Raja Harischandra of the Ikshvaku dynasty, that the crown was a branch of this udumbura tree, set in a circlet of gold. Additionally, the throne (simhasana) was constructed out of this wood and the royal personage would ascend it on his knee, chanting to the gods to ascend it with him, which they did so, albeit unseen. Its leaves are an indispensable part of many Hindu havans.
My own research, which I have presented here below has to give acknowledgments to the work of writer Richard Cassaro (www.richardcassaro.com / Written in stone) , who in my opinion made valuable pointers to the diffusionist theory of cultures. This sparked my own interest and contributions to the subject in question, of which people have been writing for over 200 years, yet which is not yet recognized as such in the academic world.
Richard has been right in a lot of his observations, for example identifying the rockefeller building with his cathedral triptych doors, as a direct influence from churches and other cultures and its clear masonic influence and meaning as he pointed out in his book, “Written in stone”. Also cross cultural relations between Asia and Meso America he pointed out to me. I was greatly fascinated and inspired by those observations so I decided to go deeper into the subject and ad my own research to his findings.
From his webpage and his online collage images can be seen that he has made great visual links between ancient pyramid cultures and modern Christianity and Freemasonry, specifically the triptych symbolism of the church doors, which was also used by DaVinci in his famous painting the last supper, which I will get back to later.
It were the Freemasons who build the churches for the Christian church, then they clearly incorporated esoteric occult symbolism and older ancient knowledge in into those structures.
That knowledge was to depict “time itself (Kala)”, astronomy and the holy union of male and female, sun and moon, night and day as a “visual representation of god” and “the ever revolving universe”
Icons used in ancient cultures where a male or female master or mistress of the animals, for sun and moon respectively or the tree of life that found many forms in religions around the world, from Menora to Bodhi or Banyan tree to the western christmass tree and sacred oak trees of the druids and Greeks / slavic civilizations.
More on that later.
In this modern age the mega churches stadiums are nothing compared to the cathedrals of Europe. There is no hidden occult symbolism in those modern buildings at all. It is just selling a story to people for gain and profit without most knowing the deeper hidden messages and story the bible really represents in form of an allegory.
The bible as such has been tried to be interpreted for ages, numerous times rewritten to hide the hidden messages even further while sticking to a “christian faith” . As we will learn it true meaning is mere astronomical allegory, with stories “borrowed” and re-fitted from older cultures.
Stories of what once was real knowledge of time and astronomy itself by priests (magi) who took this knowledge and sold the story of god(s) to the people for power and control and deceived mankind as such. In my opinion, the God(s) angels or apostles, are merely stories about constellations and planets and the seasons of the year, with an underlying other story as well related to history, specifically a story between pastoralism and agriculture and two groups of people who got into conflict in a time long gone by as I tried to explain in one of my other articles.
Today this “selling of faith” , tax free, asking for donations, is seen in the materialistic wealth of the mega churches pastors, driving Bentleys, massive houses and flying private jets which is far from the story of the poor Jesus who gave itself for humanity. Abuse of donations for personal gain and not understanding the true symbolism thrive in the catholic church today.
It where the stone masons who had this knowledge and encoded it in medieval buildings. Architects of today are not schooled in these principals and we see very little buildings today encoding such esoteric or astronomical knowledge. People simply don’t look up to the skies anymore for navigating their boats across the earth or determining the seasons for planting and harvesting. But this was crucial before the invention of the watch, time and automatic clock.
The cross layout of the churches is astronomy representing the ecliptic path of the sun and its symbolical death every winter and its resurrection in easter, or so to say the zodiacal cross with its 4 directions, seen still in the flag of Switzerland and the United Kingdom.
On the same Rockefeller plaza we find another inetresting building, the GE building where we find his so called “god self icon” or “staf god” as outlined in his second eBook “The missing link”. Here the “sun god” sits between two obelisks. (like an egyptian temple)
As you can see its the sungod in between two obelisks or, as you wish, a sun with two snakes (animals) on each side. We also see the two “hills” in the form of windows, with a central obelisk which is topped by a rosette as symbol for the sun. 4 figures flank the sungod on each side for a total of 9.
Compare this image later to the sungod found on the gate of the sun in Tiwanaku.
Richards theory, is that he links this particular “staff god” or “god self icon” as he calls it to the Yoga nadis and kundalini third eye awakening, a “god self” icon. I would refer to his second ebook if you want to see global cultural images of this iconography. This is based on a vision of internal Nadis and Kundalini energy, basicly the micro cosmos in man.
Below are my views on the matter as a different approach on the same subject pointing in a different related direction to a macro cosmic expressions.
I suspect thestaff deity or lord of the animals is a direct reference to the sun (Apollo/Perseus) and the mistress of the animals is a reference to the moon. (In egypt you had aten and silver aten) The original mother godess as personified universe later became the moon godess /Artemis/Medusa. While other aspects of nature became Hera, and aprodite etc. I suspected that the animals in this case is a reference to the zodiac or day and night respectively or in case of the lions the leo constellation at summer solstic, or aker lions guarding the horizons.
This split from an earlier symbolism where there was just 1 mother godess, that embodied the day and night cycle in 1 as mother universe in the form of mother universe. The two snakes represented the day and the night cycle.
However his explanation is micro cosmos related to the body while mine here is macro cosmos related to stars planets and astronomy. Both can coexist.
The light bearer, orion as spring constellation.
“The son of god”, is in front of the triptych doors on ground level, in the form of the statues Prometheus, he who “stole the light of the gods for mankind”. Around him the band of constellations.
Hercules/orion/prometheus was the model of the torchbearer the collusus of rhodes. The torchbearer gets explained here:
Specifically of relevance is the flame. The return of the light in spring. Note how this image of Shiva also carries the flame.
The Olympics, the torch bearer, the Kurds celebrating Newros new year in spring with torches or Belgium candle parades, all comes from this.
Even the colossus of Rhodes and statue of liberty is related although the statue of liberty might be Virgo with her wheat stalk touching the ecliptic becoming a torch. Selene, the moon godess also had a torch as symbol.
The ever continuing battle between light and darkness, the sun and the moon and the central equilibrium or sunrise and dawn, which in our seasons is spring and autumn, and equal division of the day in light and darkness. Dawn, Dusk Spring and Autumn are the embodiment of balance between light and darkness.
In modern culture movies like starwars, the balance of “the force”. The yin and yang in other cultures. Star wars even incorporated the “force tree” in their last movie, a reference to the “temple tree” or “tree of life” of many cultures as mentioned later.
The importance of Prometheus at the bottom and the staff deity at the top is significant as to me this is related to Orion and the sun. Adam(Hercules) and God(Zeus) respectively, or in star form, ophiucius and orion. Next to Ophiucius we find aquila the eagle of zeus. But as you can see there are many layers the same symbolism is expressed.
The Rockefeller building, is in itself is a modern “pyramid” or “world pillar”, where in this case the sungod sits on top just like shiva sits on top of the world pillar. The tryptich door represents the left and right, asuras and devas, day and night cycle, two forces of the universe, etc etc.
It is no coincidence that Prometheus is seen in front of the Rockefeller building with a band of constellations. Prometheus, the torch bearers is the later Hercules with his club, but also Osiris, the green man, the maize god and many others as a spring constellation, when the lands turned green again. Green the colour of rebirth. Seth his counterpart, like nepthys is the counterpart of isis.
Osiris as sun or light is also related to the constellation of Orion. Why? Because he was the spring constellation back in the day together with Taurus, while LEO and virgo ruled mid summer. Later, Osiris became “god of the underword” as the constellation went under the horizon in the other half of the year. Osiris is also known as WIZR. This is where our wizard comes from. He was put in a pillar, just like merlin the wizard, was put in “the trunk of a tree”. This is allegorical and related to the imaginary sky tree or pillar. This is why you see wizards carved in trees.
One other thing is important to note in all this. For example you see Shiva with a bull and Durga with a lion.
Its Orion and Taurus and Virgo and Leo respectively in constellation terms, but also the day and night cycle in form of sun (lions manes) and moon (bulls horns) The lion and bull are of great importance. Especially the crescent of the bulls horns, its relation to fertility and the lions manes as a sun symbol. In ancient days, the sun was female and the moon was a male god, this has shifted in later ages where the sun became male, but the symbolism is still there.
This also explains why the great mother godess like cybele was seen flanked by lions, as LEO was the summer constellation and the lion thus related to the female whilst the bull was related to the male. Ishtar , Astarte, Cyble, Durga, Brittania all are depicted with lions. Durga and the British Brittania are identical in depictions complete with trident. The lions originate from the summer constellation leo and the two aker lions. These lions where later exchanged by two snakes on the sundisk in relation to the female sun or day cycle. Hence Durga is white and Shiva is blue (dark/brown) We also see this lion bull symbolism in Persepolis Iran. The particular building symbolizes all ethnic groups paying taxes to the king of the persian empire. They where allowed to keep their religion as long as they paid their taxes and paid the persian rules was explained to me. The spring date to pay those taxes, 21 march for the new year, starting at spring in ancient days. In persepolis we see again bull and lion lamassus statues and we also see this bull and lion symbolism.
A few images to illustrate the above.
If you look at the above symbolism Now these two towers, the old symbolism of the two mountains with the sun in the middle (or the bulls horns with the sun in between the horns) is very old and is in my opinion related to this below. It is another form of “tryptich” or tri-symbolism. South – Middle – North. The path of the sun, the 3 stages of the moon, 3 Nadis etc etc
The symbolism of the two lions flanking the “pillar of heaven” or “tree of life” in Mycenea and the jewish Menora, directly comes from Egypt in my opinion in the form of Aker and was related to the Leo constellation being mid summer. A picture below from a Syrian ivory piece illustrates these connections perfectly.
The aker lions are sometimes replaced by two snakes, or the sun and moon by the staff deity, or, hero defeating the serpent, where the serpent is the female aspect. The dual serpents refer to isis and nepthys around the sundisk, or “medusas snake hair” Medusa with snake hair, is nothing more than the disk with snakes. The two snakes are a reference to duality of opposites. Eye of Ra and eye of Re, left brain right brain, sun/moon, male/female, night/day, summer/winter, birth/death etc etc.
This becomes also clear in the pyramid texts.
“Ascend and descend; descend with Nephthys, sink into darkness with the Night-bark. Ascend and descend; ascend with Isis, rise with the Day-bark.”
Pyramid Text Utterance 222 line 210.
Sometimes we also see goat symbolism for capricorn (winter) or the Makara symbolism on budhas shoulders in the east which is also related to capricorn and the winter solstice as highlighted in my Makara research paper. I have a few other blogpost on the tree of life symbolism that can be found here where I write on these subjects specifically.
The double mountain symbolism with the sun in the middle is a recurring theme in ancient cultures, either displayed as two mountains with the sungod or the sun in the middle or with two lions and a pillar. Sometimes these two mountains are also seen as “the breast of Aphrodite” or “the paps of anu”
If the two mountains are seen as breast of the earth mother, the sun matching up with the temple at certain dates is the union of the skyfather and the earth mother as earth was seen as a mother as well.
But in general the two pillars, obelisk or pylons of the temple are the female and male aspect, the sun and the moon, day and night, the lion and the bull.
In crete we see bulls horns with the sun in the middle. (as taurus passed ecliptic during spring) Called the horns of consecretion.
You can see why the sun sat in between the bulls hors (at spring) as it follows the path of the ecliptic.
Look closeley on the top of the rockefeller buildings top and also there also find this symbol of the “fertility rose” related to the sun.
The solar relation becomes clear as in instead of a solar disk, a rosette was used. The rosette was used in Sumeria and Egypt, here on the breast of an ancient statue. This would make sense of if the sun was female and related to a green land in summer. Remember also Hathor, the original mother bull cow godess was female.
The Cretan bull shows the rosette as the sun.
And on a sumerian wrist
Also with the Hitites
The bull with the disk of the sun, Hathor in Egypt.
And of course in cathedrals.
The towers are “the two mountains” , obelisks or the front “two hills” of the Egyptian temple. We can even see the sun rosette window in the middle of cathedrals.
Old temples marked the annual path of the sun. (who dies every year on the cross of the ecliptic) Note that Egyptian temples had two obelisks in front and would frame the sun in between it. The cathedral is exactly those two pillars, mountains etc, Just like the two obelisks on the top of the Rockerfeller building “framing the sungod” or the two mountains, with the sun in the middle.
The very front of an Egyptian temple is those two mountains we see in the earlier symbolism, they where called Manu and Bakhu in the symbol sign for “mountain” (djew) and that for “horizon” (akhet) . The sun, gets framed in between these “mountains” at solstice or equinox.
In another representation we see a headrest for the pharao. Here, the pharaos head is equated with the sun in the middel with the two aker lions flanking him.
This is shu holding the sky and the later ‘atlas”
Pay special attention to the sundisk with the two snakes there on the Edfu temple front. This is of extreme importance understanding the symbolism of the two snakes, or two animals flanking in later art and thus also to the triptych symbolism. As allready mentioned in the pyramid text, here is a direct inscription on the two pylon towers.
Quote: In an inscription at Edfu the pylon towers are, in fact, specifically referred to as the goddesses Isis and Nephthys “…who raise up the sun god who shines on the horizon.” The statue of the sun god was thus sometimes displayed to the people from the terrace between the towers, and the term for this “appearance”, khaai, was the same as that used for the rising of the sun over the horizon.
This then also gives an explanation to the two snakes seen around the sundisk as seen in below picture. Two opposites and the day night cycle. To prove further that this is directly related to the previously mentioned aker symbol of the two lions and also to the djed pillar of heaven and tree of life, I like to present this artifact, which, is a cross between mycenean and egyptian symbolism. It has the rampant lions, the djed pillar (like the mycenan lions gate) but also has the two snakes in opposite symbolism further proving these relations.
Mittleres Bronzezeitalter II (um 1650-1550 v.Chr.) Holz (moderne Nachbildung) mit Elfenbeinintarsien H 13,5 cm, W 10,5 cm, T 15,5 cm Tabaqat Fahl/Pella, nördliches Jordantal
The ivories decorating this box were excavated in 1984. The wood of the box had decayed but it was possible to reconstruct it from the positions of the ivories upon discovery, and by comparisons to contemporary Egyptian boxes. The main panel on the lid has two lions with their paws on the heads of two intertwined disc the cobras. Above is the winged sun symbol of the Egyptian god Horus, while the sides have inlays in the form of the Eye of Horus. Next to the knob for closing the box is a viper snake. The free use of the Egyptian symbols, however, indicates that the carver was not Egyptian. The box is probably a product of Syro-Palestinian coast, noting that a species of small elephants was native to Syria up to the first millennium BC.
If you know where the symbolism of the myceanan came from, the above piece is a beautifull piece showing an “intermediate period” where the great godess or universe was depicted as a pillar, or tree of life flanked by lions.
Nephthys is paired with Set, a God of dark moods and dark reputation and associated with Upper Egypt, while Isis is paired with the benevolent God Osiris and connected to Lower Egypt. Hence the respective crowns on the snakes. We also see left eye of RE and right eye of Ra. Note here also the third eye symbolism in the middle under the ram horn crown of Atef, linked to Osiris.
The two pylons, two mountains or two ladies.
So what happens during solstices.. The sun sits between “the two mountains”! Just like shamash (utu) in Sumerian depictions. Note the lions on top of the flags.
The “sungod” sitting on the throne flanked by lions (leo). Sun in the middle of the throne. This later gave rise to the Mycenean pillar with two lions I suspect.
Aten (or Aton) was the disk of the sun in ancient Egyptian mythology. Shamash or Utu was the Sumerian equivalent. The twin sister of Utu was Innana, asociated with the planet Venus.
Venus, was directly related and monitored in calenders and crops (and thus fertility) Venus gives you an exact account related to crops because of its visibility in certain times around agricultural dates.
The two snakes, ISIS and NEPTHYS, the two sisters consort of osiris, or the left and right pylon of the Egyptian temple, stand for the day and night bark or cycle.
This design was the basis for Egyptian temples, christian cathedrals, two pillars (of heaven, mostly sun and moon), two towers, two obelisks, with the sun in between.
The cathedrals is a direct copy of the Egyptian temple with obelisks and sun (rosette window) in the middle.
Hindu temples have similar alignments with the sun yet the design is different in 3 towers, middle being the highest.Also there we find the Triptych doors. The sun rises on the middle tower/door during spring/autumn equinoxes.
This is the basis for the triptych doors and the god in the middle door symbolism of capturing the sungod in between the two pillars, as seen on the rockerfeller building or viracocha on the gate of the sun. Or revering the specific constellation during spring which was Hercules/Orion or viraocha etc etc.
Snakes and eagles
This even extends to the eagle and the snake symbolism. The sky / sun for a flying eagle and the snake for the crawling reptile, the earth and female aspect. The snake has been identified with fertility and rebirth. Historically, serpents and snakes represent fertility or a creative life force.
As snakes shed their skin through sloughing, they are symbols of rebirth, transformation, immortality, and healing. The ouroboros is a symbol of eternity and continual renewal of life. Also the milkyway was associated with a snake.
The minoan godess with the snakes or the sungod holding snakes. (ophicius) or the sungod batteling with the snake.
Together they form the union of sky and earth , male and female and day and night as can be seen in the flag of mexico and in Garuda in India
It is said that the Aztec sundisk has the sun in the middle.
Quote Wikipedia: “In the center of the monolith is the face of the solar deity, Tonatiuh, which appears inside the glyph for “movement” (Nahuatl: Ōllin), the name of the current era. The central figure is shown holding a human heart in each of his clawed hands, and his tongue is represented by a stone sacrificial knife (Tecpatl).”
I have to disagree with that explanation and rather call her mother universe,.
We see the two “snakes” or makara’s in this case on the disk of the sun on each side of the circle, the hero twins in the mouth, the day and night cycle and the sun and the moon respectively.
We also see two creatures each side of the head. These are not hands holding harts as described on wikipedia but more likely two panters or snakes
So if it is not a “sun disk” then what is it… who is the middle figure?
The aztec “sundisk” holds the figure of the great mother universe) The two makaras on either side are the day and night cycle respectively in my opinion, just like in Egypt. https://en.wikipedia.org/wiki/Coyolxauhqui
Specifically note the pose of her “dismembered body”
There are direct paralells between Greek and Mayan culture in plain sight. as pointed out by Richard cassaro who made the connection between the Gorgon and the Aztec central figure head based on the sticking out of the tongue. But that would not be enough to convince many.
The Gorgon as depicted on the western pediment from the Artemis Temple of Corfu. Note the flanking lions and the exact position she is displayed in exactly the same as Coyolxauhqui.
Note the sticking out tongue and the snake head. Also of great importance her is the flanking lions again, always flanking the mother godess. (cybele, Aker symbolism etc)
Richard also identified the use of the Bindi or third eye dot across the world across cultures.
In below observations I extend his relations of Medusa to the Aztec face to Kali/Kala and Kirtimukha, the temple face, which is also called Kala, time itself .
He did mention the temple faces seen in Mayan and Balinese architecture, yet in my opinion the Gorgon Medusa and Kali is the same figure as Kirtimukha or the temple face as that is also known as Kala (time). I try to show why it links to the later Siren, due to the makaras/snakes and greek gorgon Medusa with further arguments here below.
I also go deeper into the specific snake symbolism of Medusa and the gorgons. Besides recognizing his work, these particular images and relations mentioned by me, have not been mentioned by him of shown in this context and is my unique work. It does however strengthen his initial observations of a global cultural exchange of cultural concepts, to which I also agree.
The tear form shown on bindi om this “medusa” figure from a vase is here quite obvious and undeniable as a match to Kali complete with a “third eye”, in Greece on numerous different depictions. She is also related to “the mistress of the animals or mother godess”
We even see the swastika symbol, also of Indian origins in this context on the medusa plate. Revolving skies, or the swastika symbol with its four directions, is time itself.
The greek Medusa = the Indian gorgon Kali/Kala or time and the central figure on the Aztec Calender, also observed by Richard. But there are more reasons why this is the same symbol besides just a figure that sticks out their tongue.
The Makaras or devoured snakes / mermaid legs and snake symbolism of Medusa play a big role in this. As you can see, the third eye Bindi symbol was known in Greece as well and unmistakeably the same figure as Kali.
If you look closely you see the two snakes on the side of the central Aztec head, falsely identified as “hands holding harts”/ We see the same figure with these snakes on the side of the heads in the classic master/mistress of the animals pose.
That is because the gorgon and the mistress of the animals are exchangeable / interlinked and the same iconography as we see in the greek plate of Medusa and on the temple freeze where she is flanked by the two lions usually associated with the mistress of the animals and the mother godess Cybele.
The image of the Kirtimukha, also known as KALA, (like Kali, Time) later gradualy morphed into the Melusine and the Siren / starbucks logo seen in churches all over Europe. The eyes of Kirtimukha became the breast of the siren.
We clearly see there the two Makara’s just like I pointed out on the Aztec calender in my research paper. This central godesss symbolism is the basis of the Mistress of the animals symbolism, that originated in the Sundisk with the two snakes as we see in Egypt. All of this is the same symbolism expressed in different forms. The expression seems to indicate time itself, the mother goddess that devours her own children. The Inca portraits also show a red dot on the forehead and the two snakes.
Similar concepts with “snake legs” as seen in the medusa depiction are seen in the scythian godess Tabiti-Hestia and the scythian godess Apa, that just as Kali, carry a head.
The snakes are the same two snakes as seen on the cadaceus or the two snakes seen on the Egyptian sundisk, the day and night cycle. Those are the “snake legs”. of the “godess”
The aztec links
The Aztec godess coatlicue/Coyolxauhqui is another similar representation of Kali/Medusa/Gorgon, thus cultural similarities start to occur not only between aztec and the greek civilization as Richard discovered, yet what has to be included is the indian civilization and the egyptian civilization. Because egypt is so old and things are depicted slightly different these links could initialy not been made if you dont know what you are looking at exactly.
The duality is even seen in the dual headed snake godess in the Tiuhanacu culture. The right figure in the statue is the dual snake head goddess, we see in later aztec art whlilst the left figure is the opposite the male in that duality of forces. Anyone can agree this symbolism is very similar if pointed out to you.
I allready showed in my Makara paper, the links between the indian civilization and the meso american civilziation, adding here the cultural ties between egypt and greece in sharing similar concepts of day and night cycles, duality and sun and moon, represented in similar ways by the great mother demon, the sun and its snakes and showing how the flanking lions related to the mother godess not only in cybele but have their root in the aker symbolism and the sun as initial female gender.
These similar concepts transcended oceans and can not be attributed or brushed of as simple “Jung archetypes” and question the very relations of ancient world cultures.
On the triptych doors:
“The triptych doors/symbolism or temple towers are directly related to the path of the sun, left small door being winter solstice, middle doors autumn and spring equinox and right door winter solstice. Hence during spring equinox the middle tower or middle way of the temple or tip of the middle tower was illuminated by the sun.
That is also why you see Viracocha on the gate of the sun in Tiahuanaco and on top of the Rockefeller building, as that is the constellation equated with god in ancient times due to its position at the time at solstice. – Stijn van den Hoven / November 2017″
So the church rebuild the astronomical religion of the ancient cultures, like Egypt and Mythraism and moulded that astronomical knowledge into a new “religion” called Christianity.
That was direct plagiarism of older concepts and allegories, they just changed the figures names. The Christian church from Isis and Horus. (Josef/Maria-Jezus = Osiris/Isis-Horus). In ancient days the great mother was worshipped, the universe. The sun is “her son”
Horus the hawk god. Isis side of the pillars, Osiris the other, child, The holy trinity.
Again, the argument that these cultures where not related and its sheer coincidence stars to fade quickly. I wrote an article on the possible pyramid origins here.
Quote: The Temple of the Sun at Dzibilchaltun in Yucatan, Mexico. The sun has risen on the spring equinox. On this day the Temple of the Sun frames exactly the rising sun.Source: http://multiverse.ssl.berkeley.edu/multicultural (Image Credit: Jim Spadaccini, Ideum)
The triptych and the sungod as such can be seen all the way back in gate of the sun in Tiahuanaco in Viracocha and at the back the 3 doors symbolism. Note also the indentations forming together a triangle/pyramid.
This further becomes clear at the rear where the tryptich symbolism is clearly visible. This is exactly the same symbolism we find back in the rockefeller building but also in masonic lodges with the 3 chairs and the two pillars on the opposite side. The rockefeller building took this ancient gate as inspiration for a modern pyramid. The Sky scraper.
We can also see this triptych in a later version in Leonardo da Vinci’s painting. This has been pointed out by others and is the work of Richard Cassaro although he never gave an explanation of the 3 doors being a sun calender of the sun travelling to the bottom of the earth and back passing the equator (is centre door spring/autumn) where they days are equally long in light and darkness.
So one can see this astronomical “religion” has travelled the world under different names.
The Hindu temples of the east are no different to the European cathedrals, Egyptian temples, the Jewish temple of king Solomon, freemasonry, in symbolism and meaning. What is worshipped is the universe personified as a “creator” or “grand architect”.
The message and concept of god, the universe as creator, preserver and destroyer just expressed in a different way and if by that, we are all talking about the same, creation itself, why should one fight one other to make their religion the main religion?
One should perhaps strive to unify these beliefs into a new “religion” and educate the world on the origins and true meanings of these cultural expressions of pyramids, temples and churches, as all of these are based on this knowledge of astronomy and time itself yet sold to the people in vague veiled stories where constellations and astronomical concepts are hidden in myths and personified constellations, only to be understood by a select few at this stage.
In our age, or at least in 100 years or so, Taurus rules mid summer and Aquarius is present in spring, in the northern hemisphere that is.
Ophiucius used to carry two snakes, Caleb and Kaput. Snakes, or lightning bolts are exchangeable as lightning are snakes in the sky. The worldwide seen “staff deity” is the storm god, god of thunder, known under many names. The constellation Ophiucius.
To me Ophiucius is this is the origin of the “staf god” or god of thunder or solar deity. Ophiucius rose before the stormy season.
Its the same figure as Samson in the bible who “pulled down the pillars of the temple” just symbolic for the changing of the constellations in the sky and the staff deity on top of the rockefeller building.
The masonic lodge as a miniature “solomons temple” can be seen from the top as a circle. We see the Triptych chairs and the two pillars on the other side.One pillar has the sun and the other one the moon. Besides night and day, sun and moon (male and female pillars), it can also be seen in the form of a zodiacal circle from the top and a miniature of the universe.
Astronomy was captured in temple buildings and later masonic halls, where the master of the lodge occupied the central chair. (or central door) the door of the sun itself on equinox.
Mason circumbating the lodge, as the sun themselves through the seasons.The blazing star the polestar and the Jewish Menorah a stylized tree of life, worshipped in the temple like budhist worship the bodhi tree and christians the christmass tree, yet these cultures dont see the relations they actually have in doing so and still see themselves as “having different religions”
A classic lodge, two pillars, 3 chairs. This specific symbolism of meaning full lodge layout is dwindling, just like now any building is used as a “church” (and missing the cross layout, the triptych and two towers as Boaz and Jachin pillars)
Churches in europe had their shape for a reason, because of the symbolism that was encoded in it. Clear symbolism and rules for its construction needs to be adhered to to convey and carry on the message. But that symbolism is what perhaps is lost or is being deliberately “phased out” to keep the masses in the dark.
There was a reason for the specific church and lodge layouts and Leonardo da Vinci’s composition of the last supper, in my opinion this was because of astronomy.
I even dare to say that like the church, not many modern masons know why they do the 33 degrees, (the sun has a 33 year solar cycle.) or why they circumbate the lodge, the true meaning of the double headed eagle or even the US seal which I investigated in this article.
They merely focus on executing the rituals whilst its meaning have been lost in time.
One sees an erosion of knowledge happening to the true meaning of cross layout churches. and the specific layout of lodges and such temples and its origins in the astronomical meanings of such buildings.
The original EVE, virgo(maria) while Adam was Orion, a later hercules. The tree of life in the garden of Eden is related to the cosmological world tree.
Them “eating from the tree” deceived by the snake hydra, caused the skies to move in the seasons and show less stars (a certain section of the sky has less stars whilst turning) This was then related to the winter season and “god” banishing them from the lush green of spring and summer. A clear relation is there to Hercules taking the golden apples of the hesperides, in the same region of the sky.
Basicly winter time.. banished from “the garden of eden”, summer. The snake did it, yes it did, it was Hydra. It can also related to an earlier epoch of mankind, a golden age during Vega as polestar, that later, during Draco collapsed. That is a second explanation.
The hercules story was older than the bible story.. I came up with the following two explantions to this what its true origin was.
Orion and virgo, the golden apple the sun in the sky which they took from “the tree” deceived by the serpent Hydra, it became winter and they got expelled from “the garden of eden” which was summer time.
2. Mankind took the polestar Vega from the sky, deceived by the serpent Draco and mankind got expelled from the garden of eden, a golden age of peace and prosperity on earth for mankind.
I leave this interpretation open but I am 100% sure its sky related, either a yearly cycle of summer and winter, or a much larger great year cycle relating to mankind as a whole.
Ophiucus, the “staff deity” and mans ancient prime “god”
The storm deity is seen in many cultures, allways batteling the serpent.
Its note worthy that in ancient days, the universe was “the great mother” before it became “god our father”. Hence we see the minoan snake godess as the universe. Note the bare breasted isis in the minoan FEMALE snake deity
All these storm gods symbolic battled serpents, Hydra to be precise. So the storm god with his two lightning bolts (or two serpents like virococha) battling the monster later became Ophiucius battling one serpent in the sky, just like the myths.
Even Jaweh battled a snake, Tiamat. So many cultures had a storm god as their main god (Indra, Marduk, Zeus, Thor, Viracocha etc) as outlined in my Makara paper that that has an astronomical reference. I propose this was Ophiucius as God, Viracocha, Zeus and many other names. Hercules, the 180 degree opposite constellation was “his son”. Lets look at all the hero vs snake myths.
Ba`al and Yam (Caanite)
Krishna overcomes Kaliya (indian)
Indra vs Vitra (Indian)
Vishnu vs Ananta-Shesha (indian)
Tarhunt and the dragon Illuyanka (hittite)
Apep vs Ra (Egypt)
Horus (hero) vs sobek (Egypt) (Horus under the form of a horseman piercing a croco- dile with his spear, louvre museum)
Zeus vs Typhon (Greek)
Thor vs Jörmungandr’s (Nors)
Marduk or Bel vs Tiamat (Sumerian)
Hadad vs Têmtum (Syria)
Lôtān vs Baʿal (Canaanite)
St. Michael and the Dragon
Levithian vs Jaweh (Hebrew)
Hydra vs Hercules (Greek)
Dragon vs St. George (Europe, this particularly in st. mark square, Venice)
Imdugud vs Ninurta (Sumeria)
Balaur vs Făt-Frumos (Romanian)
The Nazi’s, highly occultly schooled, took the symbol of the eagle (Horus), the swastika (revolving universe) and the double lightning bolt (zeus storm bolts) for their SS.
These lightning bolts weapons turned into the Dorjes of eastern Buddhism. Any subsequent god was a lightning god holding thunderbolts. Its a constellation and the basis of the worldly “staff diety”
There is no difference to all these named hero’s and gods they all are the same constellation Ophiucius. All cultures has exactly the same depiction of their sungod worldwide as the basis was astronomy.
Under Ophiucus we see Scorpio
That is what is under Viracocha, a scorpion frontal view with 6 legs and two clippers
Both Ophiucius or Virachocha which held initialy two snakes before it became one in astronomy and which is “the staff deity” seen across the world.”He who battles the serpent”
It was the scorpion who bit the solar deity. (Mithras bull bals/fertility) and Orion and it was also Judas that betrayed Jezus.(Orion). The scorpion is under The solar Heros foot.
Quote wikipedia: ” In Greek mythology, the myths associated with Scorpio almost invariably also contain a reference to Orion. According to one of these myths it is written that Orion boasted to goddess Artemis and her mother, Leto, that he would kill every animal on the Earth. Although Artemis was known to be a hunter herself she offered protection to all creatures. Artemis and her mother Leto sent a scorpion to deal with Orion. The pair battled and the scorpion killed Orion. However, the contest was apparently a lively one that caught the attention of the king of the gods Zeus, who later raised the scorpion to heaven and afterwards, at the request of Artemis, did the same for Orion to serve as a reminder for mortals to curb their excessive pride. There is also a version that Orion was better than the goddess Artemis but said that Artemis was better than he and so Artemis took a liking to Orion. The god Apollo, Artemis’s twin brother, grew angry and sent a scorpion to attack Orion. After Orion was killed, Artemis asked Zeus to put Orion up in the sky. So every winter Orion hunts in the sky, but every summer he flees as the constellation of the scorpion comes.”
Now this story relates directly to mithras. Wasn’t it the scorpion who attacked the bulls testikles. Yes, mithras is orion. The dog can is major and the snake hydra in the Bull killing scene.
Colours are very important here again. Mithras is red. (like Adam is red in hebrew) while blue was for God (see its Cape is sky with stars) (And purple for man/God jezus) this relates to seasons. Red blue. How holy Jesus was depicted in medieval art. It is clearly mentioned, further explained in this article later, where we see a clear link even to the US flag. (stars on blue background, white and red)
It also relates to Hercules and the cretan bull story as hercules is orion.
The 7 headed snake later turned into a dragon/leo composite animals purely because leo is above Hydra.
Jaweh battled the serpent, the later devil.
As outlined in my Makara research paper, the symbolism of Horus-Sobek as opposites in the zodiac, or the hero and the snake, transformed into the St. george and the dragon stories.
One of the two pillars (!) carrying St. George,entering Piazza San Marco in venice.
The tree of life
Every year around christmas we see the huge christmass tree in front of the rockefeller building and even that, makes perfect sense, besides celebrating christmas.
The christmass tree is a direct link to the tree of life, a representation of the milkyway with its twinkeling stars and balls for planets, with the polestar on top. The polestar in top as highest most northern point of direction in the sky. A clue is in the pilgrimage to Santiago de Campostella, which translates as, field of stars.. the milky way.
The tree of life has had many synonyms, the pillar of heaven, the holy mountain, pyramid and many trees in many different cultures. For example, here we see the pillar of heaven on a Mycenean bronze age fortress in Argos. Pay attention to the lions and their faces outward, a symbol from Egyptian Aker watching the horizons, since Leo was the summer constellation at the time. I visited Mycenea in may 2017.
We move on to the Jewish Menora. The one that was “in the temple of solomon” This again has a clear astronomical and time/seasons meaning to it. The Menora in Solomons temple is a stylized “Tree of life”.
Note again the lions flanking it in exact similar positions.
A another depiction is here on a Warsaw war monument. It takes no imagination to see what is depicted here is the same. Leave out the crown and you have the Mycenean gate. This is also, a stylized, tree of life..
The “jewish” star is a very ancient symbol only adapted by the jews as “their symbol” in recent mediaeval times.
The dotted star was known long before that in the Indian continent just like the swastika was and represented the union of fire and water or two triangles (or two snakes) and the 6 ancient seasons.
The use of the hexagram in a Jewish context as a possibly meaningful symbol may occur as early as the 11th century, in the decoration of the carpet page of the famous Tanakh manuscript, the Leningrad Codex dated 1008. Similarly, the symbol illuminates a medieval Tanakh manuscript dated 1307 belonging to Rabbi Yosef bar Yehuda ben Marvas from Toledo, Spain. A Siddur dated 1512 from Prague displays a large hexagram on the cover with the phrase, “He will merit to bestow a bountiful gift on anyone who grasps the Shield of David.”
The Jewish Encyclopedia cites a 12th-century Karaite document as the earliest Jewish literary source to mention a symbol called “Magen Dawid” (without specifying its shape).
The name ‘Shield of David’ was used by at least the 11th century as a title of the God of Israel, independent of the use of the symbol. The phrase occurs independently as a Divine title in the Siddur, the traditional Jewish prayer book, where it poetically refers to the Divine protection of ancient King David and the anticipated restoration of his dynastic house, perhaps based on Psalm 18, which is attributed to David, and in which God is compared to a shield (v. 31 and v. 36). The term occurs at the end of the “Samkhaynu/Gladden us” blessing, which is recited after the reading of the Haftara portion on Saturday and holidays.
Quoting the above site: The lower triangle with apex downwards is the symbol of Tirumal / Vishnu, the God of Moist principle in the Nara or waters (Mahabharata.III.189.3). The triangle with its vertex upward is Shiva the principle of Fire, symbolized by the triple flame in the hand (three eyes, Tripurantaka etc).
Thus, the combination of Tirumal and Sivan is:
Skanda / Murukan / Karttikeya formed with the properties of Fire and Water.
The Saravanabava signifies the unification of these major elements into the Most Powerful One. So the Hindus say exactly the same as the Jews and the 6 pointed star has deep astronomical relations.
The tree of life
Below we see how the same symbolism was used her on election of the new pope. The triptych chairs, the god and the tree with its branches. The tree is the tree of life, a representation of the unfolding universe itself.
The Rockefeller skyscraper is “the modern pyramid”, a representation of the milky way. Its the big obelisk, the pillar of heaven. That is the symbolism of this particular tower. The middle pillar that intersects the zodiac circle, as also seen in Hindu mythology, churning of the milky ocean (the milkyway) which is then the basis for the swastika, the revolving skies. Notice the god on top?
So what is this “tree of life” then. We allready shown the relation to the christmass tree with its twinkling stars. The above depiction is called in Hinduism, the churning of the milky ocean. Interesting. The fight between good and evil. The demons Asura and the Deva’s the gods. These are the two forces of the universe, but in this depiction it is this:
Jing and Yang if you wish,
Or, the two opposing spins of the galaxy.
The holy tree as such is known in many religions around the world and often seen near temples.
Like the jews had the Menorah, the Hindus the pipal tree, the budhist the Bodhi tree, the christians the christmas tree. All of that is the SAME FAITH and cultural representation differently presented.
In the end what is revered is life and creation itself, which is called “god”.
The temples of old
A lot of esoteric knowledge has been lost or only known to few.
The pillars of freemasonry, the church towers, are a direct link to the temple architecture of ancient and later Egypt, for example seen in the temple of dendur in the metropolitan museum of art in New York. The two obelisks where the later Boaz and Jachin pillars or the two church towers. These have been depicted again as the male and the female part, the sun and the moon, but effectively are the day and night cycle, (or the two nadis perhaps on a microcosmos level)
The sun king or ruler as representation of god himself on earth, or adam, man itself in between the pillars of the sun and moon. Thus man in daily life. You and I. The man in between the pillars is this god AND man at the same time.
This particular symbolism of sun and moon is very old indeed and goes back all the way to ancient Egypt, as we can see in the old temples with two obelisks. (yes two in pairs and not 1 as seen in later centuries combined with a dome for the female part)
As far as I know, there is not a single temple in egypt that still has its two obelisks. the Vatican / rome took most of them and created the obelisk and dome symbolism, which is basicly, the same thing, combined, the holy grail. The rockefeller building still has the sungod between 2 obelisks on the top.
And of course the later cathedrals.
On some cathedals and churches, one can clearly see the massive rosette window in the middle.
Here a difference is made in the towers, a male female force, moon, sun tower. In freemasonry it holds the arch of heaven with its constellations. The square makes a square and the compas a circle, so squaring the circle or union of both is depicted in the logo.
The symbol that depicts the Philosopher’s Stone may just hold the answer to all of our questions. The fact that this simple symbol can contain such elaborate truth is quite astounding, but very real indeed.
The symbol consists of a large circle with a triangle inside it with the points of the triangle touching the circle on three different points. Within the triangle is a square that is flanked with a circle. The large circle represents the heavens or the universe. The triangle within that circle is representative of the ether or spirit world. It is the collective consciousness of everyone and everything. It is in balance with the universe. The square is representative of the earth and included within, it’s four corners represent the four elements. Within that square lies the answer that the symbol is leading us to. The arrangement of the shapes of the symbol naturally draw your eye into the center of the image. This is the point within the circle. As we have discussed in earlier blogs, the point within the circle is one of the most powerful symbols in the history of mankind. It represents the individual or the center. This is the balance point for everything and represents the answer. As we can see, the symbol is not only a mathematical depiction of the whole, but is a symbol of balance between all of the energies and planes of existence. The focus of the symbol is it’s center and that is us. We must strive to capture the balance between all of the energies in our lives. Finding this balance within is the seekers quest. As we look to free ourselves from the bondage of our mental prisons, we must look for this center of balance. It is the point of all love. The center within all of us is the key to finding peace. Not only peace with our selves, but peace for everyone.
The zodiac in the vatican and bible
The zodiac arch on top and also the shielded cross with the 4 zodiac signs, or corners of the zodiac, is clear. Its the 4 evangelist on the zodiac cross. Bull, lion, eagle and man, the original tetramorph (https://en.wikipedia.org/wiki/Tetramorph) that to this day still graces the dome of the vatican in perfect (zodiac) cross form.
In Washington, seen in the capitol building and the obelisk and more modern architecture, like the vatican, the dual obelisks for sun and moon have been replaced by a single obelisk for the male organ and the domed building as the female part, together working in hieros gamos. This symbolism transcends religions and therefor together with astronomical mythology expressed by different gods is the true universal religion of mankind.
Lingam (male organ) and Yoni (female organ)
Capitol building US
We also see this particular symbolism in mosques where its the minaret and the dome represents this role.
Sheikh Zayed Great Mosque minaret
Even here we see the 3 tryptich doors symbolism just like catholic churches and many ancient cultures.
Creation is Hieros Gamos, the holy union. The holy grail. So what is that exactly? It is the union of male and female that procreates and gives rise to the holy trinity. Male, Female, Child. The Hindus show this as the Lingam and the Yoni, male and female union. But in Christianity, this was obscured due to a patriarchal priest system where nuns where second grade citizens. Ever seen a female pope? The answer to the grail was found in Java in Candi Sukuh, on ancient pyramidal temple. On the left is an image that is on top of thattemple.
It is the male organ and the female organ combined. The holy union. The cup bears “the blood of christ”, the female menstrual blood.
I suspect, in alchemical terms, the union of the white and the red that gives rise to creation. All this you also see in the american flag, white, red and blue for universe, or the pooring of milk or tandori over the lingam.
Revolving skies, the pillars of heaven, sun and moon.
Time is the revolving sky of constellations and the ever changing and continuous cycle of Birth and Death of nature and the universe around us.
The concept of time and god is identified as the universal force that keeps recreating itself and also “eats its own children” depicted as a monster in mayan art, hindu temples, a dragon that devours its own tail, kronos that east its own children(creation) time itself.
It has allways been a duality of opposites. The constellation ophiucius, which in ancient days held two snakes, just like viracocha and the constellation of orion, the 3 belt stars, which symbolized the spring equinox. Hercules with his club is promotheus with his torch as the sun passes on its tip on the ecliptic making it a torch, stealing “the light/fire” from the gods.
The 4 main apostels and their animals are the specific 4 corners of the zodiac. (the eagle is scorpio/aquila, the eagle of Zeus, the staff stormgod ophiucius carrying its two thunderbolts, or as in the old days two snakes, caleb and kaput)
Jezus path passed the 12 apostels is a direct link to the path of the sun in the sky through the year.
11 apostels and Maria. (because she is the only virgo/female in our zodiac and directly related to the cup crater and the snake in the cup from john. What we see here is a clear focus on Jesus AND Maria (Virgo) The “spilling of the salt” by Judas, has an alchemical meaning. Salt is part of the alchemical trinity.
The 12 apostels here in this painting of davinci are grouped in sets of 3, four, to be exact again the zodiacal cross and the four seasons. The person next to jezus is actualy VIRGO(maria) the only female zodiac sign and not John.
Two fingers up, the papal symbol of the Hierophant. (and jezus) 1 finger up usualy for John. I found it weird Thomas the disbeliever has 1 finger up while usualy it is John as seen in other picture of daVinci, but in another John had two fingers up. This requires some more research into Christian hand gestures
The argument John is Maria/Virgo might hold some grounds. It is more clear here, Cup is Crater constellation, the snake is Hydra. The snake always was fertility and related to the feminine and the goddess, here as “poison” in the cup.
The message and concept of god, the universe as creator, preserver and destroyer just expressed in a different way and if by that, we are all talking about the same, creation itself, why should one fight one other to make their religion the main religion?
One should perhaps strive to unify these beliefs into a new “religion” and educate the world on the origins and true meanings of these cultural expressions of pyramids, temples and churches, as all of these are based on this knowledge of astronomy and time itself yet sold to the people in vague veiled stories only to be understood by a select few at this stage.
In ancient days, black (night) and silver (moon) and blue (day) gold (sun) we see that in tutankamons mask. Also green jade, the colour of nature and fertile lands was prized. In recent centuries there is a focus on blue (with stars) and red (for earth), the union of sky and earth, or red and white the union of male and female.
Even in India we see this same occult colour symbolism in the form of Durga (red) and Shiva (blue), we also see it in the Mithras depictions, the american flag (republicans and democrats) the pepsi logo etc etc. Note the blue sky cape of Mithras with the stars (us flag) and the red of his clothes.
The red and blue is the union of male and female and the earth mother and sky father. However thre might be some other links relating to skin colour and another underlying symbolism, red for the white race, blue for the dark race., or a war vs peace symbolism of mankind. (like we see in the bank of england spear and wheat and the US eagle arrows and apples) in a cyclic nature of mankind itself. On that I just touched the surface.
The purple robe at easter is a direct relations to a triptych in color.
As seen all over medieval art, the blue and the red, winter and summer, god and adam and jezus in the middle as man and god in 1, or union of sky and earth. Spirit and clay so to speak.
What is interesting to note here is that adam and eve where created from clay, which is correct if the constellations virgo and orion rose from below the horizon/earth, literally “created from clay”.
The rosette (rose)
Of isis or seen on sumerian wrist, the fertility of the land or the great mother.
The rose window with the 12 apostels or 12 constellations.
The path of the sun is the ecliptic. That is represented by the horizontal cross bar of the church. Jezus, the sun, dies every year and gets resurected, after being put “into a cave”, The area below the horizon, also known as the sea. Hence half of the zodiac are water constellations and at the edges you see the crab who lives in see and land.
So, the basis of the christian church is a solar religion, where time itself, the universe or creation itself is worshipped in an allegorical matter taken from many ancient cultures before them.
Thats why the Mayas thought their gods returned as they carried the same “cross” symbolism as seen in the temple of the cross in palenque. Yet their knowledge came from the west, not the east as seen in the makkara symbolism highlighted in my other research.
Isis breast, her nipple in a rose, the “lady of the rose” Sounds familiar?
Perhaps this article I wrote gave you some insight into this hidden knowledge.
The countryside around Rome is littered with relics of a past more or less remote. One feels almost a continuity there between the ancient and the modern world, with the ancient Roman ruins being almost a familiar presence as if part of the natural landscape. Yet, one also finds there remains of a much older and mysterious past. Massive cyclopean walls encircle towns and villages, their stones darkened by the passing of centuries and millennia. One can never get used to them, so strange they are in their interlocking geometries and so different from the familiar contours of Roman and Medieval walls. They loom as a relic from an entirely different past of which we know almost nothing.
The cyclopean walls of Alatri near the Main Gate of the Acropolis (Porta Maggiore). In the foreground, one of the three enigmatic niches called “The Sanctuaries”, which probably once contained statues – Photo by Author
The megalithic gate of the Acropolis of Alatri (Porta Maggiore). The walls reach an height of over 15 meters in this point and in proximity of the corner in the walls – Photo by Author
Who built the cyclopean walls and why?
The small towns of Alatri, Ferentino, Segni, Sezze, Veroli and Arpino, all in the Province of Frosinone, Norba, Cori and Circei in the Province of Latina, Amelia in nearby Umbria, as far as Ansedonia, Orbetello and Roselle in Tuscany and Alba Fucens in Abruzzo, are entirely surrounded by cyclopean walls that survive to this day in varying states of preservation. They loom even to this day over 15 meters high on the Acropolis of Alatri, and are almost intact over their entire circuit around Ferentino, Segni and Norba.
The stones composing the walls are truly gigantic, each weighting many tons, and as finely fitted together as to leave a few millimeters at most between the joints. But it is their near impossible acute angles and interlocking corners that cause the greatest amazement, as if each stone was individually carved to be a piece of a gigantic jigsaw puzzle.
Another view of the Walls of Alatri near the Porta San Pietro (Saint Peter’s Gate) – Photo by Author
Not much has changed since the time when Ferdinand Gregorovius first described the cyclopean walls of the Acropolis of Alatri as “the most astounding monument of the past in Latium”. It was 1859 when he wrote these words: “The sight of this marvelous masonry, which equals in size any existing Egyptian building, would amply repay the visitor for the longest and most fatiguing day’s journey […] When I walked round this black, Titanic, construction, just in as good preservation now as if years, instead of thousands of years, had passed over them, I was filled with amazement greater than when I first beheld the Colosseum at Rome”. 
In over 150 years, very little has changed also in our knowledge of the builders and purpose of these cyclopean structures. The debate on the original builders of Alatri and the cyclopean walls of Latium raged for much of the 19th and the 20th Century. Lacking any other plausible explanation, the construction of the walls was attributed to the Romans of the early Republican period (III – I Century BC) and the whole question was put to rest for almost half a century. Indeed, no other civilization known to historians and archeologists would have had the technical skills and social organization to afford the construction of the miles long walls and to move tens of thousands of stones, some of which weighting in excess of 27 tons.
Yet, whoever visits the little town of Ferentino, still encircled by its beautiful cyclopean walls, would immediately realize that this attribution is plain nonsense. Here one sees more than in any other place three distinct and clearly recognizable stages of construction: the cyclopean, the Roman and the medieval. The inscription of the Roman censors Aulus Lollius and Marcus Irtius still stands to commemorate the restoration of the walls by the two censors in 180 BC. Of course, the restoration was made with relatively small, square blocks of stone upon the already ruined cyclopean masonry underneath, which served as a 10 meters high foundation for the new roman wall. Even without the inscription, no reasonable person would ever think that the cyclopean masonry and the brick-like stone wall above could belong to the same period, not to mention having been built by the same people! Yet one still reads in guidebooks and even scholarly studies that the two censors built the whole of the walls of Ferentino, including the cyclopean portion.
The acropolis of Ferentino, where one can clearly see the three layers of construction: the Cyclopean (bottom), Roman, and the Medieval on top – Photo by Author
Another view of the cyclopean walls of Ferentino, near the Porta Sanguinaria. The arch above the gate is a Roman addition, as also much of the wall above – Photo by Author
Again at Ferentino one can clearly see the three different layers of construction: Cyclopean (polygonal), Roman (with small sized square blocks) and medieval on top. These layers belong to completely different epochs and denote entirely different construction techniques – Photo by Author
Nor did the Romans ever claim authorship of such a feat as building the walls of Alatri, Norba, Segni or any other of the cyclopean cities of Latium. Quite to the contrary, ancient historians had a tendency to attribute these structures, so similar to the great walls of Tiryns and Mycenae, to mythical ancestors like the Pelasgians.
If then the walls were not built by the Romans, who built them? More recent scholarship has shown greater openness towards the idea of a pre-Roman date for the cyclopean walls. The pre-roman peoples of the Hernici and the Volsci are therefore sometimes credited for the construction of the walls. Yet, also this attribution, though much more plausible, appears to rest on very thin evidence. The Hernici formed a league as far back as 495 BC, until their capital, Anagni, was taken by the Romans in 306 BC. Yet one is surprised not to find even the slightest trace of cyclopean walls in Anagni itself, where the walls – which are with good certainty attributed to the Hernici – are rather built with much smaller square blocks.
Even the ultimate function of the cyclopean walls and acropolises is ultimately shrouded in mystery. Of course, the immediate thought that comes to mind when seeing a wall is that it might serve some defensive function. Yet, in spite of their grand scale, cyclopean walls would offer very little protection and certainly no better protection than a much more simple structure built of bricks or even wood. Not only are the walls pierced by several gates and lacking towers or any other defensive feature one would expect from a fortification of comparable size, but they even present features that seem to exclude any meaningful defensive function. The author Giulio Magli lists several of this features in his book “I Segreti delle Antiche Città Megalitiche” [Secrets of the Ancient Megalithic Cities]. For instance, the acropolis of Circei lacks any defense on the Northern side, which was therefore entirely open and defenseless towards the mountain. Even the main gate of Norba is too broad, at over 7 meters, to allow any kind of covering unless we imagine a capstone of truly monstrous size as could have never been supported by the side walls (there is ample evidence the builders of the cyclopean walls didn’t know the principles of the arch, or deliberately chose not to use it in their constructions) . These cyclopean walls are much more similar to a sacred precinct, like the themenos of a temple, than to a fortress of any kind.
The Main Gate (Porta Maggiore) to the ancient city of Norba. Over 7 meters wide, the gate is flanked by a round “tower” to the right of unclear function, which is a masterpiece of polygonal megalithic architecture – Photo by Author
Another gate in the walls of Norba, facing the cliff, and sormounted by a huge architrave. Also note the very fine texture of the polygonal blocks, each one of which weighting many tons – Photo by Author
This is especially true in the case of the Acropolis of Alatri, undoubtedly the finest of its kind in Italy and among the greatest megalithic realizations in the Mediterranean. Other than the usual absence of any defensive features inside or outside the perimeter of the Acropolis, the only structure inside the precinct of its walls appears to be a large stepped platform. Here is found some of the finest cyclopean masonry in Italy and probably in the world, including a stone with over 15 angles, with joints so tight that they don’t allow even the finest blade to pass between two stones. This platform, called a Hyeron, was clearly an altar of some sort, and is moreover very carefully astronomically and geometrically aligned as to be the virtual center or omphalos of the whole city of Alatri.
Recent research has shown that the entire city of Alatri was designed after a roughly circular plan, with three concentric walls converging towards the Acropolis. The gates defined a number of axes which show evidence of having been carefully astronomically aligned towards the rising and setting of the Sun at the solstices and equinoxes. A number of stellar alignments also seem to point to the constellation of Gemini, Orion and the Southern Cross, at a time when it was still visible above the horizon in the Northern hemisphere. Also, the golden section was embedded in the design of the Acropolis and its gates.
The stars may shed new light on the age-old question of the dating of the Acropolis of Alatri: A recent archaeo-astronomical study shows that the Acropolis could not have been built later than 1,270 BC, when the main axis of the city and of the Eastern wall of the Acropolis was aligned to the star Polaris, with the North-West wall aligned to the rising of the Sun on the morning of the Summer equinox and its setting on the Winter solstice. The same study found evidence of an astronomical clock based on the shadow projected by the sun along the tunnel formed by the lesser gate of the Acropolis, also pointing at a date in the XIII Century BC. 
Previous studies had already shown that the shape of the Acropolis almost exactly mirrors the profile of the constellation of Gemini. Even on a grander scale, the position of the towns of Alatri, Atina, Arpino, Anagni and Ferentino (ancient Antinum) matches the same profile of the constellation of Gemini (or, according to other interpretations that also include several other centers of Lower Latium, the constellation Ursa Maior). 
The stepped megalithic Hyeron (altar) on the Acropolis of Segni, also sorrounded by massive cyclopean walls, is a good examples of how the altar on the Acropolis of Alatri would have looked like before the Medieval cathedral was built on top of the older sanctuary. Also at Segni a church was built on top of the original Hyeron, partly reusing the walls of a Roman temple to the Goddess Juno Moneta – Photo by Author
According to tradition, these five cities were founded by a legendary king Saturn (sometimes identified with the God of the same name) and are therefore called “Saturnian Cities”. According to the same legend, the tomb of Saturn was located in the town of Atina, which is also surrounded by imposing cyclopean walls of unknown date.
Following the renewed interest in the megalithic civilization of Central Italy, even UNESCO has taken an interest in the astronomic alignments of the acropolis of Alatri. 
Even UNESCO now acknowledges that the cyclopean walls of Lower Latium may be indeed several centuries older than their assumed dating to the Roman period, and laments the lack of a reliable stratigraphy that may shed more light on their true age. UNESCO defines Alatri as “the most spectacular example of the use of geometry and astronomy in planning” and is considering its inscription as a World Heritage site.
A view of the Hernici Mountains from the Acropolis of Veroli – Photo by Author