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Mythology & Heroic Sagas of Culture & Myth => Mythology => Topic started by: Bianca on February 19, 2008, 09:51:10 pm

Title: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 19, 2008, 09:51:10 pm

                           The Atlantean Symbolism Of The Egyptian Temple (Part I) 

                                                 PROF. ARYSIO SANTOS  

Turning my face to sunrise, I created a wonder for you. I made the islands of Punt come here

to you, with all their fragrant flowers, to beg your peace and to breathe your air.

Stele of Amon


Entering an Egyptian temple is an unforgettable experience, one that is certainly the most
pungent a sensitive person can ever undergo. Even though all the Egyptian temples are,
at present, mostly destroyed and disfigured, something of the ancient majesty remains to
render the experience unique. And the reason can now be revealed: the Egyptian temple is
a replica of Paradise, and entering one is equivalent to doing a ritual pilgrimage to Paradise,
just as the ancient heroes such as Hercules, Gilgamesh, Ulysses and Alexander once did,
long ago.

In what follows we will explain in detail the symbolism of the Egyptian temple, the symbolic
meaning of its several sections and features and, above all, its connection with the Egyptian
Book of the Dead. Moreover, we will explain the secret, esoteric doctrines concerning Atlantis
and its identity with Paradise; as well as the meaning of Pharaoh as an alias of Osiris, the psychopompos that leads the souls back to Paradise. This identity, we will see, is so close
and so detailed that it cannot be refuted in any rational way. So, the ineluctable conclusion
is the legend of Atlantis and its connection with Egypt mentioned by Plato is real and compelling.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:00:16 pm

Figure 1(a)
Perspective of an
Egyptian Temple

The feature that strikes the visitor of Egypt is the fact that its temples are widely different
from the ones of other nations.As can be seen in Fig.1, the Egyptian temple was formed of
three separated sections, each widely different from the others. An outer wall — often triple — surrounded the whole structure.

The first section consisted of a sacred garden permanently irrigated and kept green at all times.
This garden had sacred pools intended for baptismal rituals and included trees and palm trees,
as well as a great variety of plants and flowers. Some of these were incense trees imported
from Punt, from the Holy Land that was the Paradise of the Egyptians. As we shall see below,
this structure was followed in just about every Egyptian temple, and had a very specific
symbolic purpose.


Figure 1 (b) Plan

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:11:29 pm

FIGURE 1 (c)
Cros section of an Egyptian Temple

In some temples, such as the one of Karnak, an alley of sphinxes guarded the place. In others,
these were substituted by giant statues of divine guardians or of lions or some other fearful figure.
Next came the pylons (or portals), which had a very characteristic shape. These pylons consist
of very massive, tapering, rectangular jambs resembling a table mountain or lofty altar, on whose
top certain rituals were often celebrated.

These pylons were linked to each other by means of a lower lintel covering the entrance gateway
at the center. They had recesses intended for the placement of wooden flagpoles, usually two or
four. At the front of the pylons were also placed lofty obelisks, again two or four, depending on
the particular temple.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:17:50 pm

FIGURE 1 (d)
Procession carrying
The visiting barque

The gateway of the pylons admitted to the second section, open in its central region but covered
with colonnades at the three far sides of it. At the far end of this second court one enters a hypo-
style hall by way of a ramp. This hall had a stone roofing supported by pillars distributed in the
whole of its court.

Next came the holy of holies, the precinct of the god to whom the temple was dedicated. This
small chamber was situated at the center and held, inside, a sacred barque. This inner sanctuary
was surrounded by lateral chapels for subsidiary gods, small praying rooms, and storage rooms
for the divine paraphernalia used in the sacred rites.


FIGURE 1 9e)
The Egytian Temple
represents a tropical forest

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:29:00 pm

The Divine Barque

The Egyptian temple was accessed by means of barques in which the gods were processioned
from temple to temple at the occasion of their festivals (see Fig.1(d)). The chapels inside the
temple were usually three, as the Egyptians, like so many other peoples, worshipped triads of
gods. In brief, one might say that the Egyptian temple consisted of an innermost closed
sanctuary were the god, placed inside the processional barque, stood upon an altar; then an intermediate, semi-open hypostyle hall, and finally an open outer courtyard planted with a
walled, well watered garden.

The king's palace was also constructed according to this sacred geometry, which was also
followed in the residences of the high dignitaries. The accessibility of the different sections
was also rigidly disciplined. The humbler persons were restricted to the open courtyard; the
high officials were admitted to the hypostyle hall, and only the pharaoh and the high priest
were admitted to the innermost sanctuary.

Accordingly, the temple structure was also rigidly linked with sunlight. The hypostyle court
was in semi-darkness, except for a small skylight at the top which allowed a ray of light to
enter through the opening, falling directly upon the god's statue. The hypostyle hall had
columns which are invariably very thick and strong, and were obviously intended to carry a
great load upon them.1

These columns were made in the likeness of a somber tropical forest composed of palm-trees,
papyrus stems and lotus stalks with elaborate capitals imitating the tops of these plants. In
most cases, the solid roof is made in the image of the sky, with the constellations explicitly represented in it (see Fig.1 (e)).

It is clear to any keen observer that the hypostyle hall represents a heavily forested under-
ground realm with its subterranean "heaven" (or canopy) forming the ground floor of our own
world. We shall see below that this subterranean world represents, rather literally at that,
the subterranean realm of Atlantis. What else? Moreover, the lotus, palm and papyrus capi-
tals of such hypostyle halls are closed and budding, as they would be at night or before
they are a button ready to open.

Only in the sections usually exposed to sunlight are the pillars, in contrast, decorated with
open flowers and fronds. Among the constellations represented in the roof of the hypostyle
chamber the Celestial Nile is represented, with the gods navigating across them in their
barques. Clearly, the chamber represents a dual of Egypt, not indeed Celestial, but sunken
underground and infernal, though extremely beautiful and pleasurable.2

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:30:22 pm

FIGURE 1 (f)
The Egyptian Temple represents a tropical forest

The Hypostyle Hall Portrays A Tropical Forest

Anyone who ever entered a tropical forest in his lifetime will readily realize that the hypostyle
hall of the Egyptian temples was designed in order to represent one: the imposing gloom, the
trick trunes of the pillars all around, the luscius colors, the vegetation above forming a thick
canopy high overhead, and so on.

In fact, even the evergreen forests of the temperate or the cold regions of the world do re-
semble the hypostyle hall of na Egyptian temple, except for the lack of the colorful vegetation.
Keep this analogy in mind the next time you are lucky enough to enter na Egyptian temple like
the one of Karnak, and you will readily realize the truth of what we are claiming.

Unfortunately, the gorgeous colours are now mainly gone, effaced by the forocious sun of sub-
tropical Egypt. But in the times of David Roberts (1796-1864) - the famous Irish painter who
visited Egypt in 1838-9 drawing its many marvel - they were still alive, as can be seen in
Fig. 1(e) and 1(f) which we owe to the great artist. Space does not allow a fuller presentation
of the many beautiful drawings that Roberts bequeathed us and which portray the interior of
the Egyptian temples. The ones of Fig. 1(e) and 1(f) show, the interior of the temple of Isis,
in the island of Philae.

On the ceiling of the hall is shown the nocturnal sky, spangled with stars. In it fly the repeated
figures of the sacred vulture and the sacred beetle, symbols of death and resurrection. The
freshness and the beauty of the colors enchanted Roberts, who also extols the beauty of its
majestic proportions. The clearing at the center of the hypostyle hall represents the temenos,
the sacred open space within the enclosure of the temple where the worshippers gathered for
the cult.

The nocturnal sky shown in the figure represents the former sky, the one of sunken Atlantis
which became the new earth when it fell down over the former land. On that sky sails the
sacred ships of the Sun and his attendant in their nocturnal trip back to the Orient, where the
day star will start the new day.

In the colorful foliage that forms the capitals of the pillars we recognize several sorts of tropical vegetation: lotuses, papyri, palm trees. Though cultivated in Egypt from remotest epochs, these
plants are not originally Egyptian. As we argue elsewhere in detail, they originated in the Far East
and, more exactly, in the region of Indonesia, the very site of Paradise (Punt) according to
Egyptian traditions.

On the pillars of Isis' temple of Philae can be seen several christian crosses. These were carved
in the VI century, when Bishop Theodorus transformed the temple into a Coptic church. Very little transformation was indeed required, the "Christianization" consistingof the carving of the crosses
and the construction of na altar for the celebration of Mass. In fact, one of the key factors of the instant sucess of Christianism and elsewhere was the sunchretism of isis with the Virgin Mary and
that of Osiris (Serapis) and Horus with the somewhat equivocal figures of Christ and his mysterious Father.

In fact the Immaculate Conception was taken verbatim from the identical one of Horus by the
dead body of Osiris. After the great god had been murdered by Seth, his evil brother, Isis sought
out his dead remains, which she gathered and mummified, with the exception of the phallus,
which could not be found. In her temple at Dendera, Isis is shown under the guise of a bird,
beating her wings to insuffate life into Osiris' body, while magically conceiving her Son Horus
in the process.

Though far more explicit than most christian renderings of the Virgin Birth of Christ renderings
of the Virgin Birth of Christ, there can be no doubt that both motifs represent one and the same primordial concept, whose true meaning seems to have been utterly forgotten with the passage
of time. In fact, Isis as a bird hovering above dead Osiris closely evokes the figure of the Holy
Ghost doing the same at the occasion of Christ's baptism or, even more closely, the winged angel "announcing" the Immaculate Conception.3

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:37:37 pm

The Temple of Ramses
at Medinet Habu

There Will Be A New Heaven And A New Earth

It is precisely this ancient conception that is meant in the Book of Revelation where it alludes to
the fall or descent of the New Jerusalem from above, and adds that "there will be a new earth
and a new heaven". The temple of Ramses III — one of the most beautiful and best preserved
ancient Egyptian temples — will serve as the base of our discussion. It is shown below, in the magnificent reconstruction of Fig.2.

At the faces of the pylons can be seen one of the most constant features of Egyptian temples:
the engraved image of the god or the pharaoh impassively smashing the heads of prisoners.
Indeed, the images are dual, and represent the twin gods wielding their maces with a solemn detachment. These twin gods are the aliases of Hercules and Atlas, the Primordial Twins of
Atlantis. In other words, what the impressive engraving shows is the destruction of Atlantis
by its two patron deities, Hercules and Atlas.

The icon also corresponds to a similar motif which is extremely popular in the Far East and which
shows Yama and Yamantaka (or their many aliases) killing the Bull or some other enemy that
represents Atlantis. It is strange to see the god who is the patron and founder of a nation to
wipe it out so recklessly. But such is invariably the case, for the hand that creates is the same
one that destroys, when the right time comes. And this great god is Shiva. In the Far East,
Shiva is deemed, like Jahveh, to be both the Creator and the Destroyer of all things, which are
infallibly doomed to die.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:43:23 pm

The Triple Wall And The Crenelated Tower

As can be seen in Fig.2, the Egyptian temple was surrounded by a triple wall. The admission
was from the south side, by means of a pier or dock on which the sacred barque landed on
the occasion of the festivals, bringing in the pharaoh and the visiting gods from the other
temples along the Nile. The two outermost walls were crenelated. The outer one was lower
than the inner one, which posed a formidable barrier against thieves and invaders.

The main gate was garnished with a lofty crenelated tower well stocked with soldiers, who
had the range of its thick wall, turning the temple into a virtually inexpugnable fortress. The
third, innermost one, was entered through the first pylon, again an impressive structure that
we will discuss further below. The triple wall is a characteristic Atlantean feature, one that
was extensively discussed by Plato. So is also the crenelated tower which, again, rendered
Atlantis virtually inexpugnable.4

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:46:00 pm

The Garden And The Sacred Pools

The common folks and the profane visitors only had access to the outer court and the gardens
of the temple. In Fig.1 and 2 one can see that these gardens were decorated with palm trees
(date palms), trees (sycamores) and flower plants.

They were well watered, and had two sacred pools fed automatically from the underground with
water from the Nile by means of a sophisticate hydraulic device. This can be seen in Fig. 1(c), a reconstruction made by Papus (ABC Illustrι d'Occultisme, Paris, 1892). These two pools serving
as artificial springs closely recall those of Atlantis as described by Plato, and which were one hot
and the other cool, according to him.

The sacred pools (or springs) of the Egyptian temples served for the baptism of the initiants, a
ritual that is intimately connected with the Flood and the sinking of Atlantis, as we explain else-
where in detail (See: The Atlantean Origin of the Seven Sacraments: Baptism). These were also connected, by means of subterranean waterworks, with the underground crypt, where initiatic
rituals of a more occult nature were performed. The luxuriant, artificially irrigated garden of the Egyptian temples is another feature that can be traced back directly to Atlantis and, indeed, to
the Garden of Eden and to that of the Hesperides (or Atlantides), the daughters of Atlas.

Plato describes the beautiful gardens of Atlantis in detail in his Critias. And the Garden of the Hesperides — so often associated with Atlantis — lay not indeed in Morocco or in Libya, as some
affirm, but in Atlantis itself. These gardens are the same as the legendary Gardens of Avalon, or
as the Garden of Eden, the true site of Man's origin that is no other than Atlantis. It is hardly
likely that the jealous Atlas would keep the Hesperides — both his daughters and lovers, accord-
ing to tradition — very far from his palace in the Orient, confining them in Mauritania (Marocco),
on the other side of the world.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:50:42 pm

The Pylons, Banners And Obelisks

As illustrated in Fig.1, most Egyptians temples had a pair of monolithic obelisks planted
just in front of the pylons of the inner gateway. These obelisks were a sort of free stand-
ing pillars, and closely correspond to Jachin and Boaz, their famous counterparts posted in
front of Solomon's Temple by Hiram of Tyre. More exactly, they also corresponded to the
Pillars of Hercules Melkart posted in front of the temples the Phoenicians constructed every
where a strategic strait separated two seas or two different regions.

The best known Pillars of Hercules were those of Gibraltar, which many experts mistake for
the true archetypes that indeed marked the site of Atlantis, as reported by Plato. Thus,
Herodotus (Hist. II:44) mentions Pillars of Hercules in Tyre, in Thasos, as well as in other

Many other authorities mention Pillars of Hercules posted in strategic straits such as the
Bosphorus, the Syrtis, the Bab-el-Mandeb, Gades, and so on. It is a mistake, then, to believe
that the name "Pillars of Hercules" used by Plato and others unequivocally refer to the Strait
of Gibraltar, for there were many such responding by that name.

These phony pillars were just a trick of the mendacious Phoenicians intended to divert the
attention of their competitors to the wrong side of the world, thereby preserving their lucra-
tive monopoly of the Indian trade. As we have abundantly contended elsewhere, the arche-
typal Pillars of Hercules were the ones that indeed marked out the entrance into Atlantis.
Later, when Atlantis sunk away, these pillars again marked the entrance into Hades, the half-
sunken residue of paradise. There they flanked the Strait of Sunda, in Indonesia, the true
site of Atlantis and of Hades, which the Hindus call Atala.

It is interesting to recall that Plato often connects Atlantis to the Pillars of Hercules and appa-
rently implies that this hero was indeed Gadeiros, the twin brother of Atlas. Plato also speaks
of golden pillars kept in Poseidon's temple, in Atlantis, which its kings inscribed with their royal
edits. It is from these that the pair of pillars that decorated the Egyptian temples, the ones
of the Jews and those of many nations were indeed copied.

Why would the Egyptians — who never sailed the Mediterranean or the Atlantic Ocean, but
confined their naval trade to the Indian Ocean — consider Gibraltar important and pay homage
to its guardian deities, Atlas and Hercules (Gadeiros) by posting twin pillars in the forefront
of their temples? Why would the Phoenicians and the Jews, who were originary from beyond
the Indian Ocean, from the region of the East Indies, do the same, commemorating gods, places
and symbols that were not theirs, but indeed belonged t their enemies, the Greeks and the

The two enormous pylons that flanked the main gateway of the Egyptian temples is perhaps
the most striking feature of these constructions. What do they indeed represent? The Egyptians claimed that they represented the two mountains of Isis and Nephtys, her twin sister. But,
indeed, they symbolized the same thing as the twin obelisks, that is, the Pillars of Hercules.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:52:02 pm

Nut forming the Four Pillars of Heaven

The Gateway Of Paradise

The "door" flanked by the true Pillars of Hercules corresponded to the strait that served as the
Gateway of Paradise. As can be seen in Fig.2, there were two pairs of pylons placed at the
opposite ends of the inner court. This is a very important feature, one that tells the true story
of the Pillars of Hercules for those who can indeed read the ancient symbols. The four feet of
the Celestial Cow (Nut or Hathor)correspond to the four members of Isis, who is also often shown
in a strange arched position, with her arms and legs touching the ground (Fig.3).

This allegory is strange, but highly revealing. Here, Nut, the Sky is shown decked with stars
which represent the night sky. The gods navigate along her body, in Heaven (Paradise),
obviously delimited by the two pairs of pillars (her four members) at each extremity. These are
indeed the Pillars of Hercules, one pair in the Occident (Gibraltar), the other in the opposite
extreme of the world (Sunda Strait), in the Far Orient. Beneath her body is the god Shu ("Atmo-
sphere") holding her up, as well as the god Geb ("Earth") lying down on his back.

In certain versions of this picture, the allegory is far more explicit, and shows that what indeed
holds Nut up is the huge phallus of Geb, here apparently missing. As we explain elsewhere, the
allegory depicts the separation of Heaven and Earth which is really of Hindu origin and figures
already in the Rig Veda, where the deed is ascribed to Purusha, the first man.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 10:58:32 pm

The Pillar Of Heaven

In reality, the Phallus of Geb is the fifth, Central Pillar, the one that stretched the skies up,
"like a tent", to use an interesting metaphor from the Bible. This fifth, Central Pillar is indeed
Mt. Atlas or Meru, so often identified with the Cosmic Linga, the Phallus of the Earth. Its ab-
sence here can easily be explained when we recall what we said above concerning "the fall
of the skies". As the very name of Atlas explains (a-tla = "the one who did not stand"), the
Titan was unable to bear the excessive weight of the former earth (Atlantis), which thus sunk underground, turning into Hell.

At the rear pylons — the ones corresponding to the Oriental Gateway of Paradise — are posted
the gigantic statues of the Twin Guardians. These often change into lions, sphinxes or some
other terrifying creatures. They correspond to the Cherubins that guard the Gates of Paradise
in just about all mythologies. In Greece they are Cerberus and Orthrus; in Babylon, the Karibus,
in China the Twin Lions; in Angkor and Indonesia, the Nagas. In India, they are the Lokapalas
or Dvarapalas ("Guardians"). In reality they are the Twins we encounter everywhere and who
are indeed Atlas and Hercules in Greece or Krishna and Balarama in Indian myths.

The twin flagpoles and their banners were another invariable feature of Egyptian temples. In
Egypt, the banner on a flagpole represented the deity (neter). The use of banners and stand-
ards in temples is common in the Orient and, particularly, in Tibet. It seems that, originally,
banners and pennants consisted of impaling staffs over which were hung the flayed skins of
the sacrificed prisoners of war in order to scare away the enemy.

Their connection with the Pillars of Hercules and, hence, with the pylons that symbolized them
in Egyptian temples, seems to be akin to that symbolism. Indeed, it seems the Phoenicians had
the habit of posting impaling poles at the entrance of forbidden straits such as the Pillars of
Hercules. These straits were forbidden to all but their ships, and anyone caught while attempt-
ing to cross the passage was automatically impaled, as a warning to all.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:02:08 pm

The Trident Of Shiva

In the Egyptian temples, then, the flagstaffs symbolized the impaling poles that were associat-
ed with the Pillars of Hercules, whereas the loose pennants that hung down from them stood
for the flayed skins of the unfortunate victims caught trespassing the forbidden gateway to
Paradise. The same ritual function was also served by the twin obelisks which, apparently,
originally served as impaling poles, to judge from their name (obeliskos, in Greek, means

The pylons of the Egyptian temples suggest yet another Atlantean feature of great importance.
It concerns Trikuta, the Triple Mountain upon which Lanka, the true archetype of Atlantis, was originally built. The central peak of Trikuta was Mt. Atlas or, indeed, the Central Pillar of Heaven
that was identified to Shiva's linga.

When Atlas, the Pillar of Heaven collapsed, it became the huge submarine caldera of the Krakatoa volcano which nowadays forms the Strait of Sunda, separating Java from Sumatra. The two
remaining peaks are, in Hindu myths, the Sumeru and the Kumeru, that is, the two Merus, one
in the north, the other in the south. In Egyptian myths, these two peaks are known as the
Mountain of Manu or, yet, the Mountain of the Orient and the one of the Occident. These
names are clearly taken from Hindu traditions, for even their names are the same as in India.

These twin mountains are variously allegorized. But in geographical reality, they correspond to
the two peaks that flank the Strait of Sunda, named respectively the Kalianda and the Gunnung Karang. This Triple Mountain was precisely the one the ancients equated with the Trident of Shiva (Trikuta) and, later, with the one of Poseidon, his Greek counterpart. Indeed, this triple mountain
is the one that the Argonautica and the Odyssey called by the name of Thrinacia (thrinax = "trident"), and which was later exoterically identified with Sicily, allegedly because of its triangular shape.

The shape of the pylons of the Egyptian temples roughly recall the one of certain churches and cathedrals such as Notre Dame and Reims, which have two blunted towers flanking the central gateway, which is far lower than the other two side towers. Clearly, the same conception guided
the hands that built those cathedrals and the temples of Egypt.

In other words, the idea of Atlantis and its triple mountain (Trikuta) and collapsed central peak apparently lay at the root of the ancient Mystery Religions that eventually became the religions
of Egypt and of Christianity, not to mention others that are not being discussed here.

The pylons of the Egyptian temples are nearly verbatim replicas of the so-called "Mountain of
Sunrise" or its dual, the "Mountain of Sunset" (or of the West), which are endlessly portrayed in Egyptian iconographies and in myths as well. This symbolism is indeed metaphoric, and is taken
from India, where Mt. Meru (really the Sumeru and the Kumeru) are called by precisely these two epithets.

What is in reality allegorized by the rising sun shining between the two peaks of the Holy Mountain
is the explosion of its central peak (Mt. Atlas), bursting "with the light of a thousand suns" and disappearing under the seas, where it becomes the Primordial Abyss (Nun), whence the Sun originally rose, during Creation.

By the way, in Egypt the sun rises and sets in the Sahara desert, rather than from the sea or even from among the mountains. So, the image of the sun rising and setting in the waters of the sea (the Nun) or from the hills of a foreign country can only have originated elsewhere. And where is that?
The only place in the ancient world that fits the description are India and Indonesia, as can be seen
in a map of the region. So, once more we see that both in the geographical reality as well as in the mythical image which equates the sun rising with a giant volcanism of an island over the seas can
only have come from there, for all other places are irremediably wrong.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:03:45 pm

The hyspostile hall of an Egyptian Temple

The Hypostyle Hall

In Fig.4 below we show a drawing of a typical hypostyle hall being crossed by a procession during
a festival of the god. As can be seen from this figure and the preceding ones, both the amount of
pillars and their impressive thickness are clearly exaggerated for the weight of the superstructure
they had to bear.

The Egyptians were fine engineers, and would never commit such a mistake. Hence, we may clearly conclude that the purpose of the exaggerated number and thickness of these pillars was ritual.
What ritual was that, though? In the introduction to the present essay, we mentioned the fact
that the hypostyle hall was indeed a replica of the subterranean realm of Atlantis or, rather, of
its tropical forest with its enormous trees. Indeed, it represents the Lost Continent sunken under-
ground and rendered dark when the sky collapsed over it. Can we justify such an unusual assertion?
We certainly can.

The semi-obscurity of the hypostyle hall was intended to convey the idea of a nocturnal, gloomy
realm like Hades and Cimmeria. This darkness is further enhanced by the decoration on the roof,
which depicts the starry night sky. The same symbolism is also encountered in tombs such as the
tholoi of Minoan Crete and the tumuli of Etruscan Rome, or even in the domes and crypts of certain
early Christian churches. If we look again at our discussion of Fig.3, we see that this gloomy sky represents the belly of Nut, the Celestial goddess in Egyptian tradition.

This dark abode of the dead corresponds, as we said there, to the region of Paradise, enclosed
between the four Pillars of the World. But the Egyptian Paradise, their land ancestral, was Punt,
the Land of the Gods. Punt is in reality Atlantis, this Egyptian name being a corruption of the
Sanskrit Bandha, a name that literally corresponds to the Dravidian Punt. Punt was precisely the
local (Dravidian) name of Indonesia in ancient times, when the Dravidas still inhabited the place,
before moving on to India and elsewhere. This name was translated into Sanskrit as Bhanda
("Bridge") in the magnificent relation of the Ramayana, one of the first and greatest epics of
all times.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:09:32 pm

Eden And Its Luxuriant Vegetation

Another thing that strikes the visitor of Egyptian temples such as the one of Fig.2, is the bright coloration of the hypostyle hall and the luxuriant nature of the vegetation therein depicted. Very clearly, the realm there depicted is not desertic Egypt, but some tropical forest turned gloomy
and nocturnal for some obscure reason. If we review Plato's extactic discussion of Atlantis as a
tropical paradise full of perfumes, trees and luxuriant vegetation, the analogy with the region
depicted in the hypostyle hall comes naturally to the mind.

The second evidence for this analogy consists in the nature of the vegetation there represented,
and which is clearly intended to represent a tropical forest of huge trees, something wholly unlike anything we ever had in Egypt but which, to believe Plato, was commonplace in Atlantis. In hind-
sight, we only find, in the ancient world, a parallel to that place in luscious South India and
Southwest Asia, precisely the site of Atlantis, as we have been arguing.

And it was there, in Punt, where the Egyptians fetched their "wood from Meru", which they indeed never obtained from Lebanon, despite the contrary affirmations of some Egyptologists. Thirdly,
the very nature of the vegetation represented in the pillars is very characteristic of the distant
regions we just discussed.

Strangely enough, none of the three plants represented in the pillars of Egyptian temples — the
lotus, the date palm, and the papyrus — seems to be a native to Egypt, as we discuss elsewhere.
The lotus (Nelumbo speciosum) is a native of Indonesia, and many Egyptian texts explicitly acknowledge its origin in Punt. Punt was the land of smelly plants such as the lotus, whose perfume
so fascinated the Egyptians. The smelly lotus was the attribute of Nefertum, the god that came
from Punt, certainly bringing along his fragrant flower for cultivation in Egypt.

The date palm is an Arecacea which thrives in the Indies, from where it probably came, for there
thrive an enormous variety of other members of the family, including the famous areca palm. The specialists do not really know the site of origin of the date palm. But they know for sure that it is
not native to Egypt and that it indeed came from farther East than there.

Finally, the papyrus was, like the lotus and the date palm, a plant that only grew under cultivation
in Egypt. Even today the papyrus is rarity there, in contrast to Indonesia, where it is so abundant
as to hamper navigation in its shallow seas.

All in all, it is plausible to conclude that the luscious region portrayed in the hypostyle halls of
Egyptian temples is indeed Punt, and not at all the Egyptian delta, its attempted copy. And, as
we already said above, Punt is no other than Indonesia, the true site of Atlantis, the Lost Continent. And that sunken region of continental dimensions can lie in no other part of the globe than Indonesia, as we argue elsewhere.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:11:51 pm

Dante's Selva Selvaggia

A fourth evidence that the thick wood portrayed there is Indonesia is afforded by many ancient
Occult traditions. Dante speaks of the selva selvaggia where he is lost in the beginning of his
poem. So do the initiatic novels of the Arthurian Cycle. The Argonauts too are, at the crux of
their saga, lost in the "wilderness" before they reach the Garden of the Hesperides which, as we
said further above, was precisely the one of the legendary daughters and lovers of Atlas. In fact,
the Seven Atlantides (or Hesperides) represent the insular remains of sunken Atlantis, as we show elsewhere in detail.

This mythical "wilderness" also figures in the Bible, where it is often confused with a desert. But is indeed a desolated, haunted, gloomy, fearful region like a tropical forest. Hermits everywhere seek
this kind wilderness in order to exile themselves in their quest of Paradise. In this they follow the aranyakas ("errants in the forest") that we find in Hindu traditions, and who seek the seclusion of forests for their retirement from society.

The idea is that what little remained unsunken of Paradise, became a pestilent, infernal region, and
was abandoned by all survivors, becoming a deserted jungle in the middle of nowhere. But the Indonesian islands — formed out of the mountains of Atlantis that remained unsunken — eventually recovered from the cataclysm, and were again inhabited, this time by headhunting savages that
took a lot of effort to pacify.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:15:09 pm

The Atlantic Islands

Among the Seven Atlantic Islands — that is, "islands of Atlantis" and not indeed "islands of the
Atlantic" sought by the explorers and discoverers everywhere — there was always one of them
called by names such as "Selvaggia", "Madeira", "Boscosa", "Isla Verde" and other such names
that mean something like "woody", "forested", "wild".

In reality, this island is no other than Java, whose name derives from the Sanskrit Yava mean-
ing the same. And Java, like Sumatra and her other counterparts, indeed deserves the name,
as it was the wooded island whence the nations fetched their wood, in antiquity. Indeed, the Indonesian islands were the mysterious Meru whence the Egyptians fetched the wood for their
temples and their ships, just as did King Solomon and others.6

Yet an argument that is telltale of the true meaning of the origin of the pillars of Egyptian temples
has to do with the name of Atlantis. The Hindu name of Atlantis is Atala, (or Patala or Tala-tala), names which are derived from tala ("palm tree", "pillar").

Atala is the same place we know as Hades. This Abode of the Dead is often confused with Hell,
though the Hindu abode of the dead ancestors is indeed very pleasant, like the Punt of the
Egyptians, the Dilmun of the Babylonians and the Elysium or Islands of the Blest of the Greeks.
Indeed, Atala (or Patala) is the archetype of all such "Realms of the Dead" of the ancients.

Actually, Atala (or Atalas) is also the name of Shiva as "the Pillar of World". And this is the very
epithet of Atlas, the eponymous hero of Atlantis. It can hardly be doubted that Shiva Atalas was
the archetype of Atlas in Greece. In India, many legends tell of the "fall" of Shiva who is, indeed,
like Atlas, the Primordial Castrate. And this "fall" or "castration" indeed refers to the one of
Mt. Atlas, the Phallus of the World.

There is, yet, another connection between Atlantis and palm trees that is even more compell-
ing to Westerners than the one of Atala. The name of Punt (Puanit in Egyptian) is, as we saw
above, precisely the same as that of Phoenicia, the primordial Phoenicia that was both the
"Land of the Phoenix" and the "Land of the Palm-Trees".

The origin and reason of this name is not hard to discover. In the Far East, and particularly in
the Andaman Islands, the palm-tree is considered the Tree of Life, due to the many products
that are taken from it. Moreover, the palm tree is there equated with the Pillar of Heaven whose collapse caused the end of the previous era, the one of Atlantis, as is evident in hindsight.

In other words, this Primordial Phoenicia is the Paradise of origin not only of the Phoenicians,
but of many other races as well. Actually, the name of Atala, so closely connected with the
one of Atlantis, also means "Land of the Palm Trees", both in Sanskrit and in Dravida, the two
sacred tongues of the region of Indonesia before the cataclysm that forced its people to emi-
grate to better, safer regions of the world.7

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:16:46 pm

The holy barque, the shrine and the altar

The Sanctuary And The Meaning Of The Holy Barque

In the sanctuary (or holy of holies) of the Egyptian temple was kept the holy barque of the god
or goddess, the one in which he/she was processioned along the Nile. Actually, the statue of
the god was kept inside a sort of chest that was indeed the cabin of the embarkation. This cabin
was called naos or pyxis in Greek, and corresponds to the Ark of Covenant of Judeo-Christian
traditions, to which it served as the model. Its Egyptian name is per, a word which indeed desi-
gnated the shrine within which the statue of the god was kept.

Actually, many authorities hold that the Ark of Covenant is a direct copy of the Egyptian shrine
(per), that is, the naos or cabin of the holy barque. These holy barques correspond to the well-
known Solar Boats in which the gods were deemed to travel to and from Paradise, as illustrated
in Fig. 5 and in innumerous other iconographies.

To make a long story short, we may say that the barque is the Ark where the gods once came
from Punt, crossing the Indian Ocean, driven out of their homeland by the terrible cataclysm that
caused its sinking. Such is the nocturnal trip illustrated by the voyage of the matet boat. And,
in the end of times the gods, led by Osiris, whose figure the Pharaoh represents, shall return to
Paradise (Punt) the same way, sailing in the sactet boat, the one of the return.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:24:37 pm

The Pharaoh As The Barger Of Paradise

In Egyptian, the radix per is connected with the idea of motion and, more precisely, of crossing
into Paradise inside the naos of the Solar Boat. It also forms the name of the aa (or pharaoh),
who is indeed the alias of Osiris as the ferrier of the Solar Barque of Paradise. Moreover, the
word also designated the pylons (or gateway) of the Egyptian temples, which represented the
similar ones of Paradise, as depicted in certain Egyptian iconographies. In other words, the
Pharaoh (per-aa) was indeed "the great one (aa) in the ship (per)", rather than "the Big House",
as some unwise Egyptologists often interpret his name.

This means that the Pharaoh was the captain of the Ark, the pilot of the Celestial Ship represent-
ed in the skies by the Argonavis constellation. More exactly, the Celestial Pilot (Per-aa) is repre-
sented by the beautiful star Canopus (alpha Carinae), which is often identified with Osiris or Atlas
in this role of theirs. As we explain elsewhere in detail, the word Canopus, the name of the pilot
of the Argonavis and of the boat of Osiris, the Solar Barque, indeed derives from the Dravida, and
means "Pole Star"(xan-oppu. By extension, it also means "Pilot", "captain", as the one who navi-
gated by keeping an eye on the Pole Star.

The word Canopus also applied to the so-called "Magic Calabashes", a sort of primitive sextant/
compass combination used by the ship's pilots in antiquity to orient themselves by means
of the star Canopus. Canopus is the (talking) figurehead of the Celestial Ship, the Argos (or Argo-
navis constellation). It is from these "Magic Calabashes" that derives the idea of the Canopic jars
used by the Egyptians. It is interesting to note that the star Canopus was the (Southern) Pole
Star some 14,000 years ago. Who else but the fabled Atlanteans could be navigating the outer
oceans by means of Celestial Navigation and of advanced instruments such as the Magic Calaba-
shes and Canopic Jars? How could the Egyptians and other ancient peoples know that Canopus
was once the Pole Star, in times so far past? Why, if not for this reason, was the star Canopus
so closely associated with Atlas and Osiris, the personifications of the "Pillar (or "Pole") of the

In Greece, the equivalent of the Egyptian Pylons of Paradise corresponded to the Pillars of Hercules,
the impassable Gates of Paradise. The title of the Egyptian Book of the Dead — indeed called
Reu Nut Pert Em Heru (or "Spells for [Safely] Crossing into the Realm of Light") — also embodies the
radix per- (with the addition of the t that marks the feminine gender in Egyptian).

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:26:59 pm

In Greece, the equivalent of the Egyptian Pylons of Paradise corresponded to the Pillars of
Hercules, the impassable Gates of Paradise. The title of the Egyptian Book of the Dead —
indeed called Reu Nut Pert Em Heru (or "Spells for [Safely] Crossing into the Realm of Light")
— also embodies the radix per- (with the addition of the t that marks the feminine gender in

This mysterious book of the Egyptians is in reality a recipe for crossing safely into Paradise
(Duat or Amenti, the Egyptian Realm of the Dead). And the trip is done in the Solar Barque,
which safely crosses through the mysterious place after passing the Gateway (or Pylon) that corresponds to the Pillars of Hercules in Egyptian myth. The soul of the deceased joins the
company of the gods under the figure of Osiris, with whom he becomes identified after death.


The deceased in the Solar Barque
with Ra and the Benu bird

Many vignettes of the Egyptian Book of the Dead show in detail the perils of the crossing into
the Sekhet-Hetepet (or "Fields of Peace"), the Egyptian equivalent of the Elysian Fields, where
the worthy spend their eternal life hunting, fishing and "banqueting in cakes and beer". One
such is Fig. 6, which shows the deceased in the Solar Boat crossing into the Sequet-hetepet
in the company of two gods, Ra and the Benu bird. The deceased is pushing the boat with a
pole. Here, the deceased explicitly represents the Pharaoh in his role of Osiris as the Barger of Paradise; as Canopus, the Pilot of the Argos Ship (the Ark).


The deceased arrives
in Paradise

In Fig. 7 is shown the arrival of the deceased in the Sekhet-hetepet, in the manner of a "comic
strip". In the upper strip, the deceased and his wife are before two gods. Next, they ride the
Solar Boat, crossing into the Field of Peace. In the second strip, they get into the place,
characterized by the enormous reeds that give it its other name of Field of Reeds (Sekhet-aaru).
Next, the deceased ploughs the two sides of a field crossed by a river. The final strip shows the
Solar Boat anchored in a canal.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:29:42 pm

The region is divided in three sections by two further canals. In one of these are the gods,
crouching. The two pairs of omphaloi represent the two pylons or gates of Paradise. The four
ovals in the extreme right correspond to four lakes; the two birds are Benus. The boat carries
a staircase with seven stairs. The seven stairs and the seven sections of the region, wholly
surrounded by canals confirms the identity with the seven Islands of the Blest (or Elysium) of
Greek traditions. The boat is the one in which the deceased couple crossed into the paradisial


The first Aat,
Gateway to Paradise

In Fig.8 is shown the first Aat ("Division") of Sekhet-Aaru. In this figure it is shown isolated,
but in others it is shown annexed to the other divisions of the Egyptian Paradise. We note that
the design of this first section exactly corresponds to the hieroglyph of P'R with which are
written the names of Pharaoh, of the Book of the Dead and of the naos (or per or shrine) of
the Solar Barques of the Egyptian temples.

Said otherwise, the hieroglyph of the name of P'R-AA variously represents the Solar Boat itself,
 its shrine or cabin, the Barger and the Gate of Paradise that is to be crossed by the deceased
in his role of Pharaoh, as an alias of Osiris. All these imply an idea of "crossing", "coming forth",
that is, of "coming forth to Light", into Paradise, the Realm of Light where the Sun indeed
resides and from where he starts his daily journey. The name of P'R-AA is indeed written in
hieroglyphs as two Aat symbols connected by the Cow's Belly that represents the Sky (the
belly of Nut). The message is crystal clear and unequivocal: "the Gates of Paradise are linked
across the Skies by Pharaoh, the Celestial Barger".

In still other words, the Book of Coming Forth (or Crossing) to Light is the recipe for success-
fully crossing into Paradise, that is no other than Peru or Meru, another name of Punt or Indo-
nesia. And the Egyptian temple is, again, just a replica of Atlantis as the site of Paradise, with
its sacred pools, its thick forests, its pylons and divisions and, above all its Solar Boat that
garantees the safe crossing into that difficult region, in the company of the gods, who grant
the grace of such safety in crossing the perilous ocean that leads into the netherword, that
of sunken Paradise (Atlantis).

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:32:04 pm

The Great Virgin Mother And Her Wondrous Son

The Sanctuary (or Holy of Holies) that followed the Hypostyle Hall has a very precise ritual
function that has not been properly explained so far. The Open Court, fully exposed to the
light of the sun, represents the present era. The intermediate, partly exposed Hypostyle Hall represented, as we just saw, the sunken realm of Atlantis. So, what can the third, holiest but
darkest of all three sections of the temple indeed represent?

As a matter of fact, there were two Atlantises or, more exactly, what the Occultists call Atlantis
and Lemuria. Lemuria (or Mu) is the Great Mother, "virgin" because it engendered itself without
the help of a male, that is of external insemination by other civilizations such as is the case with
all civilizations we know of. Atlantis itself was engendered by the Great Mother, of whom it was a colony. So, Atlantis is the Son, the wonderful Son of God who grew up to be far greater than the
Great Mother, herself a formidable, universal empire.

It is from allegories such as this that the myth of the Great Virgin Mother who engenders the won-
derful Son of God, who later becomes her lover and husband, in an affair as confused as that of Brahma and Ushas; Orion and Dawn; Atlas and the Atlantides; Oedipus and Jocasta; and many
others we could quote further.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:35:53 pm

The Secret History Of Mankind Embedded In Myths Of Paradise

It is now possible to reconstitute the secret history of Mankind so masterfully illustrated
by the Egyptian temple. Humanity was born in Punt (Indonesia), where the two original
races of Man represented by Adam and Eve first sprung to life. Adam, the Red, eventually
mingled with Eve ("the Great Mother" = Ava), and engendered the third race.

The race of Adam was that of the Chamites (or "Reds"), the sons of God. The one of Eve
was that of the Aryans (or "Whites"), the Peoples of the Goddess. The third race was the
one of the Semites, the hybrids of the first two. This is the marriage of the Sons of God
and the Daughters of Men mentioned in Genesis 6 as the actual cause of the Flood and of
the destruction of Atlantis-Paradise. But, not impossibly, the ruddy races of Adam were the
Cro-Magnons, the one of Eve were the Neandertals and the third one were us, their hybrid
sons. Only further ethno-genetic research will be able to tell with certainty if this ancient
tradition is really true, as we believe it is. Would our wise ancestors go to such a trouble just
to tell us, their children, a lie?

This mingling — the Original Sin — resulted in the uncontrolled breeding and the consequent overpopulation of the earth which can only lead to famine, war and, finally, the destruction
of the earth and the end of the Atlantean era, just as is apparently happening nowadays.
In other words, the Bible is indeed right. But its correctness works at a far deeper level than
is usually presumed, one so fantastically real that not even the hardiest of zealots ever dared
to dream.

The Egyptians embodied, in their eschatological rituals — the ones sacralized in their wonder-
ful temples and their spells of the Book of the Dead — the very history of Atlantis in every detail. Moreover, they clearly identified Atlantis with Paradise, and even gave the recipe of the wonder-
ful news: the one that we can indeed be saved by divine grace and return to our Lost Paradise
in the company of the gods, by being identified with Osiris and Pharaoh.

Indeed a beautiful message, the same one as that of the Gospels, the evangel we somehow dis-
torted into a purely spiritual alias, the one of the never-never-land of Heaven.

We know that many of our assertions above will seem vaunted and ill-founded to many of our
dear readers. But they are the fruit of many years of research, and are founded upon strictly
scientific arguments that cannot be given here in full. The reader interested in further details
is invited to read Part II of this essay, below, where the symbolism of the Egyptian temple is
compared to the one of other nations and different religions. Better yet, he is invited to read
our books on Alchemy, on Atlantis, and on related matters. We recognize the fact that most if
not all doctrines herein expounded are not only difficult to follow, let alone believe. But they are
the Truth, and nothing but the Truth, just as Plato repeatedly affirmed. When the Light — the
Light that radiates from the Primordial Cave — is too much, it can be obfuscating. But light can
only blind the bats and other such nocturnal vermin.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 19, 2008, 11:39:34 pm

1 The word hypostyle comes from the Greek hypos ("under") and stylos ("pillar"). The term
means a room with pillars that support the roof (usually heavy and having an upper structure
above it) from below. As we shall see, this peculiar structure has a most direct connection
with Atlantis. In many places such as Dendera and Kom Ombo, the temple is fully hypostyle
and subterranean, and the city is built directly above the roof.


2 Actually, in contrast to the modern religions such as Christianism, the Hades (or "Hell") of the
ancients was very pleasurable and, indeed, a sort of idyllic Paradise where the dead spent their
time in endless hunts and banquets. Clearly, this "Celestial Egypt" was Punt, the Realm of the
Dead and the Land of the Gods.

Punt was indeed the First Egypt whence the Egyptians originally came when the region sunk under-
ground, forcing them to leave. As we shall see, this underground Egypt is no other than
sunken Atlantis, characterized by its sturdy, world-supporting pillars and its many palm-trees
and papyrus covered marshes.


3 Certain Gnostic gospels explicitly identify the Holy Ghost as the Mother of Christ, the Celestial coun-
terpart of the terrestrial Virgin Mary. And the role of Gabriel - whose name means something like "God's
Male" - at the Annunciation (Luke I:26-38) is far from clear. Sex changes of Celestial
beings are rather frequent, gods and angels being indeed androgynous in character.


4 The walls of Atlantis were plated with bronze, tin and orichalc, according to the texts of Plato. Ob-
viously, the Egyptians were unable to embody this costly feature on their walls. Many ancient traditions
(Hesiod, Theog. 723; Virgil, Aen. 540, etc.) tell how the walls of Tartarus, the realm of Hades, were
triple and bronzy, being garnished with a lofty defense tower at the front gate.
Hades (or Tartarus) is, indeed, an allegory of sunken Atlantis, turned infernal after the cataclysm
that devastated it.

As is clear, it is hard not to see that the Egyptian temples, with their triple walls and lofty towers,
were indeed an imitation of Atlantis, whose features they paralled very closely. The descriptions
of the Duat or Amenti — the Egyptian equivalent of the Elysium or Islands of the Blest, with its
towers, walls and pylons, its well-watered gardens, and its canals and districts — that one can
read about in the Book of the Dead, are too perfect a replica of Atlantis to allow any doubts about
its identification with the sunken continent. It is not conceivable, then, that the Egyptians were
merely inventing a legend when they told the story of Atlantis and its demise to Solon, through
whom it reached Plato.


5 It seems that the legendary Karibus (or Cherubs) that guarded the Gates of Paradise in all mytho-
logies were a personification of the barbaric custom. Indeed, the word karibu ultimately
derives from the Dravidian karippu ("skewer", "spit"), related to the Greek kharax, the Sanskrit
khara, and several other bases meaning more or less the same. Many legends tell of the habit
of the Guardians of Paradise skewering their victims as a punishment for trespassing. One such
is the tradition on Cerberus, the guardian dog of Hades that had the bad habit of thus "caressing"
trespassers in the infernal realms he guarded.


6 The name of Java (or Yava, etc.) also applied to Sumatra, its twin, from which it became sepa-
rated by the colossal explosion that razed Atlantis, built right on top its volcano, the Krakatoa.
The ancients had a fatal attraction for volcanoes, which bring abundance at a price, due to the
fertilization of the soil effected by their ashes. It is clear that the legendary Ophir where King
Solomon and Hiram of Tyre fetched their wood could not have been the desertic Lebanon. Other-
wise, they would have sailed from the Mediterranean Sea, and not from the Red Sea (Ezion Geber)
as they did. So did the Egyptians, by the way, as we read in their annals.


7 In Egyptian, the t ending marks the feminine, so that the original name must be Puani (or Poani).
The Phoenicians were called Puni, Punici, Poeni by the Romans, visibly the same name as Poanit or
Puanit, except for the feminine ending. It is known that, originally, the Phoenicians came from be-
yond the ocean (Indian), which they crossed when their original birthplace was destroyed, settling
in the Near East. As we argue elsewhere, the Phoenicians really came from the Primordial Phoenicia
that is indeed Punt/Indonesia. So did the Egyptians and, also, the Aryans, the Jews, and many other
ancient nations as well.

In Greek, the word phoinix ("phoenix") means "palm-tree", so that the primordial Phoenicia was "the
Land of the Palm Trees". Indonesia is really the Land of the Palm-trees and, particularly, of the most
useful of them all, the coconut palm. According to Egyptian legends, the Phoenix bird, the "soul" of
Phoenicia, came to Heliopolis from beyond the ocean (Indian), from Punt (the Island of Fire) every
time an era ended. This was a direct recollection of the primordial migration we just discussed.
These Proto-Phoenicians are, as we show elsewhere, the pre-Dynastic Gerzeans, well-known from
the archeological records of the Nagada cemeteries in Upper Egypt.


Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:49:18 am

                         The Atlantean Symbolism Of The Egyptian Temple (part II)   


I have seen the wicked man rising like a mighty cedar tree. Yet, he passed away, and could be found no more.

Psalm 37:35


In the present section — the second part of our work on the symbolism of the Egyptian temple
— we study two fundamental aspects of that symbolism which, to our knowledge, have never
been pointed out before:

The Egyptian temples are stylized replicas of Atlantis, with its mountains, its pillars and its crypts represented explicitly.
The Egyptian temples derive their architecture and conception from that of the Hindu temples
of India and Indonesia, particularly those built in the so-called South Indian (or Dravidian) style.
We begin by discussing the features of the Egyptian temples and their Atlantean symbolism, and
then pass on to their Hindu archetypes. Finally, we discuss the Atlantean (Indonesian) origin of
the Egyptians themselves and of the language they spoke, showing how they kept abreast of
the Hindu conceptions by means of periodic visits to the Land of the Gods (Punt or Indonesia).
Let us start by reviewing the conception and symbolism of the temples everywhere.

The word "temple" derives from the Latin templum, itself derived from a radix tem- meaning "open court", as in the Greek temenos. We are used to temples built as closed edifices, such as Christian cathedrals, Arab mosques and Jewish synagogues. However, in the early temples everywhere, the place of worship consisted of an open court, at whose center stood the inner sanctum (or holy of holies), which was indeed closed.

The worshippers were admitted to the temenos or open court, but their entrance in the inner
sanctum was forbidden. There, an image of the god was kept and catered to by the priests who,
alone of all people, were admitted there. The Hindus call this inner sanctum by the Sanskrit name
of garbhagriha meaning "womb abode" (or "inner room"). In the inner sanctum the dead god "slept" quietly with his entourage, awaiting the instant to resurrect and come out in triumph, announcing
the return of the Golden Age.

This resurrection of the dead god (Osiris in Egypt, Shiva or Vishnu in India, Tammuz in Babylon,
etc.) was periodically enacted by the priests, who brought out the image of the god for the
ritual. The image was processioned in triumph (often by boat), usually meeting with its lover.
After a few days of festivities, the god (or goddess) was again returned to the inner sanctum
until it was time for a new resurgence.

The adytum (or inner sanctum) often took the shape of the Holy Mountain under which the
dead god and his court were buried. In Zozer's complex, built by Imhotep, and possibly the very
first such structure to be built in Egypt, the garbhagriha took the shape of the famous stepped
pyramid that survives even today to the delight of tourists and specialists both. In Babylon, the
temple court surrounded the ziggurat, itself a kind of stepped pyramid not too far distinct from
Zozer's stepped pyramid or, for that matter, from the similar structures found in Indonesia and
even in the Americas (Yucatan, etc.).

As a matter of fact, as we show elsewhere, Zozer's complex is a verbatim copy of pyramidal
complexes of Angkor and Java. It is likely that Imhotep, a most mysterious figure, was fetched
from there, along with a gang of expert masons, in order to teach the Egyptians the arts of
stone-masonry and city-building, among others.1

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:52:04 am

The Symbolism Of The Christian Temple

The symbolism of the Christian temple is masterfully described by J. Hani (Le Symbolisme du
Temple Chrιtien, Paris, 1978). Hani starts by asserting that "every sacred building is cosmic,
and is made in the image of the world". He quotes St. Peter Damien, who affirms: "the church
is the image of the universe".

The walls and the columns of the church represent Heaven and Earth and, in a way, "a cathe-
dral is a visual encyclopedia illustrating Creation". In no way the temple, Christian or not, is a
realistic image of the Cosmos. It is, far more, a symbolic representation that portrays the inner mathematical structure of the world. The square shape of the Celestial Jerusalem (Rev. 21:12)
— one which many authorities assimilate to the Great Pyramid — is the basic essence of temple architecture. As Hani asserts:

The whole of sacred architecture consists, in reality, in the operation of "squaring the circle",
that is, of transforming the circle into a square. The foundation of the building starts by its
orientation [along the Cardinal Directions], done in a ritual manner... This process is traditional
and universal, and is found everywhere there is a sacred architecture. It has been described by Vitruvius and was practiced in the Occident until the end of the Middle Ages.

Hani then goes on to describing the traditional utilized in orienting the temple and lying its found-
ations. With the help of a gnomon (sundial), the architect determines the two axes of the Cardinal Directions (Cardo and Decumanus). This consists of a stake driven into the soil, to mark the center
of the edifice. The maxima and minima of its shadow determine the axes of the Cardinal Directions.
A circle is traced using the stake as a center, and the two axes serve as its perpendicular diameters. In a way, this operation is a "squaring of the circle", as it combines the fundamental elements of
sacred geometry: the Center, the Circle and the Square or Cross.2

The Circle represents Heaven (the circular horizon) and the Square represents Earth (the crossing Equator and Meridian Zero). So, the Crossed Circle symbolizes the Cosmic Hierogamy, the union of Heaven and Earth. This "squaring of the circle" is a central feature of temples everywhere. In
Christian cathedrals we have the square nave at the center and the round dome or cupola above, representing Heaven.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:54:23 am

The Squaring Of The Circle

In the Far East, many pagodas and temples blend the square base (the Earth) and the round
(often conical) top above (the Skies). Two other instances from the Far East are the holy
mantle of the Chinese emperor and the ritual basket of the Polynesians. The royal mantle of
the Chinese emperor had a squared rim, which tapered to a circle at the waist. The ritual
basket of the Polynesians had, likewise, a square wooden base to which the round upper
portion of wickerwork was attached.

In the Great Pyramid — indeed a temple of Osiris (his Holy Mountain) and not at all a fancy
tomb of vainglorious pharaohs — the circle is squared in a most ingenious way. The height of
the Great Pyramid is worth precisely the radius of a circle having a circumference equal to the perimeter of the pyramid's base.

That this symbolism is not originally Jewish, nor Egyptian but far older and far more universal,
is proved by the fact that it is found just about everywhere. It is found in the Far East, in the pyramidal complexes of Angkor, Burma and Java. Borobudur, for instance, also masterfully
marries the round shape of the Celestial stupa at its top with the square, stepped pyramid at
the base.

This same idea of "squaring the circle" is also found in certain American pyramids, for instance,
in the well-known "Whirling Mountain" sandpainted mandalas of the Navajo Indians of North
America. Likewise, the pediment of Greek temples such as that of the Acropolis also had a
height equivalent to the radius of a circle having a perimeter equal to the width of its base.
We could quote a further dozen of instances where the "squaring of the circle" is ingeniously
embodied in the geometry of the temple. But the above examples will have to do for now.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:58:45 am

The Great Pyramid Is A Replica Of Mt. Meru

The above analysis discloses a fact of fundamental importance. The Great Pyramid is, itself,
a replica of Mt. Meru as a representation of the Holy Mountain of Paradise.


The Seal of Shamash represents
the Holy Mountain seen from above

This Holy Mountain is located at the center of the world, right at the spot where Atlas — or,
more exactly, the Serpent Shesha, his Hindu archetype — supports up the skies, as a sort
of tent above the earth. Hence, the Holy Mountain is indeed Mt. Atlas. More correctly, this
mountain is identical with Mt. Meru, the Holy Mountain of Paradise of the Hindus from which
all such replicas were originally copied.

The pyramids and, particularly, the Great Pyramid, was called M'R in Egyptian. As the Egyptians
never wrote the vowels of the words, very likely the word M'R was indeed pronounced MeRu,
precisely the name of the Holy Mountain that was its archetype. Likewise the temples and
even the Christian churches and cathedrals — built right on top the stake driven into the
head of the Naga that represents Shesha — also represent the Holy Mountain, that is, Mt.
Atlas or Meru. Since this serpent is no other than Atlas, the temple built above the Standing
Serpent represents the Holy Mountain of Paradise which, in turn, symbolizes the world being
supported by the Titan Atlas. Anyone who takes the trouble to study a little bit closer the
Hindu symbolism of the Holy Mountain Meru and that of the world-supporting naga, the Serpent Shesha, will immediately recognize its fundamental identity with the ones pointed out here.

The Great Pyramid had its four faces indented at the middle, so as to form a Cross or a four-
sided star as seen from above. These indentations formed a sort of giant troughs theoretically
intended to concentrate and drain the rain waters that fell over the Great Pyramid. As it seldom
(or never) rains in the region of Egypt (a desert), the real function of these troughs is purely
symbolic, and is obviously quite another.

In reality, pyramids represent the shape of Mt. Meru, itself pyramidal and indented at the center
of its four faces like the Great Pyramid. These troughs and their waters correspond to the Four
Rivers of Hindu Paradise which flow from the top of the Holy Mountain along the four Cardinal Directions. This shape is also the classical one of Eden, as described in the Bible and in works
such as these of Flavius Josephus.

The Judeo-Christian Paradise was visibly copied from Indian traditions, which are identical, but
are far older than Judaea itself. The same symbolism is found even more explicitly in ancient Mesopotamia, where the so-called "Seal of Shamash" represents the Holy Mountain of Paradise
as an indented pyramid seen from above, with the wavy lines of the four rivers descending
along troughs indented on the middles of the four faces, as shown in Fig. 1. This figure repro-
duces a very ancient Sumerian seal, and the motif originally dates from about 3,000 BC or
possibly even earlier. The indentations in question transform the pyramids into stars, and
indeed allude to the Pole Star rather than the Sun. They are a feature not only of the Egyptian pyramids or their Babylonian counterparts just discussed, but also figure, say, in the Chinese
pyramids which we discuss elsewhere.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:05:35 am

The Temple Of Solomon Is Purely Legendary

The Temple of King Solomon is purely legendary. But its idealized architecture is obviously
derived from the Phoenician one, as it was built by Hiram, a Phoenician. It can be recon-
structed from the fairly accurate biblical descriptions, as well as from archaeological remains
of temples such as the ones of Herod, the Great, and the Phoenician temple of Tall Tainat
(Syria), dated at about 1,000 BC, the epoch of King Solomon.

Solomon's temple followed the general plan of the ancient temples described above. In the
front there was the monumental gate giving access to the vestibule (or introitum). This, in
turn, led to the temenos or court, built as a sort of hall. Next, at the bottom, we had the
holy of holies with the square plan characteristic of the Holy Mountain. This inner sanctum
was closed by a curtain, and access to it was denied to all but the high priest.3

An interesting description of the ideal temple of the Hebrews is the one of Ezekiel (ch. 40-46).
This account closely parallels that of Revelation concerning the Celestial Jerusalem (ch. 21).
And these, in turn, are copied from the Hindu ones concerning Paradise ("Pure Land"), as illu-
strated in the so-called Kalachakra mandalas. Ezekiel's ideal temple, like the Celestial Jerusalem,
was edified "upon a very high mountain" that is obviously the same as the Mt. Meru of Hindu

There was, at the top of the Holy Mountain, just as in the Hindu traditions concerning Lanka,
a holy city (the Celestial Jerusalem). This city or temple — the text is obscure and confuses
the two — was "surrounded by a wall round about". This wall was square and was aligned with
the Cardinal Directions, having a gate on each of its four sides. It delimited a court paved with
stone on which were built thirty chapels and an inner court, on the south side.

The adytum (temple proper) was square and had two pillars in front, each 6 cubits (about 3
meters) broad. The temple was of enormous size (500 canes (or 1600 meters) on a side), being
square in plan (probably cubical or pyramidal). It was surrounded all around by a wall that iso-
lated it from the court destined to the public. The inner sanctum was decorated with palm-trees
and cherubs, motifs that are allegedly of Mesopotamian derivation, but which ultimately originat-
ed in Hinduism. All in all, Ezekiel's ideal temple closely evokes Zozer's pyramidal complex and,
better yet, its archetypes from Malasia, which it closely parallels. When one carefully compares
the underlying symbolism of these strutuctures from different corners of the world, their unity
of shape, conception and purpose becomes self-evident.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:08:26 am

The Temple As An Allegory Of Paradise

The city-temple just described is indeed an allegory of Paradise. More exactly, it represents
Lanka, the Celestial Jerusalem that was the archetype of its biblical counterpart. In Ezekiel,
the "lofty Mountain" that corresponds to Mt. Atlas (or Meru) is called Ariel (or Harel = "Mount-
ain of God"), and is identified with the sacrificial altar (ara). This Sacrificial Mountain is, as
usual, an allegory of Mt. Meru (or Atlas), where the Primordial Sacrifice — that of Atlantis
(or Paradise) — was performed in the dawn of times.

In front of Solomon's temple stood the two huge pillars of bronze called Jachin and Boaz.
These two pillars closely evoke the two "Pillars of Hercules" that were the central feature
of the Phoenician temples of Baal Melkart. Baal Melkart, "the Lord of the City", was the alias
and archetype of both Hercules and Atlas, the two deities commemorated by the twin pillars
of the Phoenician temples. These twin pillars indeed commemorated, as they did in Gibraltar,
the strait that led into Paradise. The Pillars of Gibraltar were just a replica of the primordial
ones of Eden (Eden = India or, rather, Indonesia, the "Indian Islands"), just like so many the Phoenicians posted in the temples they built at all such crucial passageways to honor Hercules
(Baal Melkart), their supreme lord and patron of navigants.

The two pillars also correspond to the twin obelisks invariably posted at the front of Egyptian
temples. The inner sanctum of the Temple was a cube of about 9 meters on each side. This
structure evokes the Kaaba of Meccah, whose name and shape are those of a cube. But, as
usual, the cubic structure is just a variant of the similarly shaped pyramid.4

The fancy capitals of the pillars Jachin and Boaz were all decked with lilyworks and pomegra-
nates, in the traditional way used for both the Tree of Life and the omphali found all over the Mediterranean Basin. The "lilyworks" are really lotus motifs, as many experts have recognized.
This type of decoration, very much used in Egypt, ultimately derives from the Indies, as we
discuss elsewhere.

Such "lilyworks" invariably figure on top the Indian stupas, which are the true archetypes of
omphali and decorated pillars everywhere. And they indeed represent Mt. Meru submerged
under the seas, with reeds and sargassos attached to it. Alternatively — and that amounts
to the same — they symbolize the stump of the Tree of Life with its dual, the Tree of Death,
growing down from its top. The motif is famous in India, as we discuss elsewhere.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:12:46 am

The Riddle Of Cedar Wood

The interior of the holy of holies was all lined with cedar wood imported from Ophir by Hiram
and his men. Cedar, was an exclusivity of the Indies in antiquity, and had to be imported
from there by both the Hebrews and Mesopotamians, as well as by the Egyptians, who loved
its wood. Despite its name, cedar was always a rarity in Lebanon and other regions of the
Near East, where it was not native, but cultivated in memory of the primordial Paradise lost.

The fact that the inner sanctum of the Temple of Solomon was built of cedar wood (erez,
ezrah, Cedrus libani) — a native of the Himalayas later transplanted to the mountains of
Lebanon — is highly indicative of the fact that the Jews, as well as their god, indeed origi-
nated in the Indies, and later moved to the Near East.

A parallel tradition in temple building and decoration existed in Egypt, whose sailors regularly
went to the region of Punt (their Paradise) in order to bring the precious wood for the deco-
ration of their temples and their palaces. Such commercial expeditions to Punt cannot be
doubted. They are recorded in detail since the Old Dynasty in Egypt, and extend to the
times of Queen Hatshepsut, and later. King Sneferu, the father of Khufu (Kheops), brought
from there a large shipment of meru wood, which sufficed both for his own needs and those
of his famous son.

Since Solomon's and Hiram's ships departed from Ezion Geber, in the Red Sea, in order to get
to Ophir, it suffices to look at a map of the region in order to verify that the cedar they im-
ported came not from Lebanon itself, but from somewhere beyond the Indian Ocean. And this somewhere can be no other than the Indies, where the so-called "cedar of Lebanon" grows in abundance, in the Himalayas and its eastern extensions.5

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:17:05 am

The Parable Of The Eagle And The Tree Of Life

Ezekiel (ch. 17) tells an enlightening parable on the origin of the Semites. He recounts how
"a great big eagle with broad wings and multicolored plumage" (the Phoenix) came from
Lebanon, whence it brought a twig of the Cedar Tree (the Tree of Life), transplanting it to
"a land of commerce, a city of merchants". The Eagle (or Phoenix) represents the sail ships
— often described as "birds", in antiquity, as in Isa. 60:8-10, etc. — used to bring the
survivors out of destroyed Eden.6

The "Land of Commerce" is Lebanon, rebuilt in the Near East as a replica of the former one,
in Paradise. As innumerous traditions record, the original homeland of the Phoenicians of
Lebanon and Syria lay beyond the Indian Ocean. It was from there that they originally came,
just as did the Jews and other nations, when their land was destroyed by a volcanic confla-
gration. From their sunken Paradise in Indonesia, these proto-Phoenicians passed into India.
Expelled from there, they moved to Egypt, where they are known to Egyptology as the Gerzean Civilization (c. 3,500 BC). Expelled once more, probably by King Menes, they again moved,
this time to Northwest Africa (Libya, Morocco, Tunisia) and to Palestine (Syria and Lebanon).

The "Sea of Bronze", built in front of Solomon's Temple by Hiram Abiff, is also telltale of Hindu connections. Such sacred pools were an invariable feature of Indonesian temples. They corres-
ponded to the barays (or "sources") of Indonesia's pyramidal complexes, which represented the Fountain of Life (that is, of the Elixir of Life). One such fountain also existed in the Temple of
Ezekiel, and replicated the one of the Celestial Jerusalem (Rev. 22:1).

The Egyptian Temples also invariably had such a source either as a natural spring or as a cistern
filled by the waters of the flooding Nile. Such sources or cisterns correspond to the ghats of
the Indus and the Ganges rivers, used even today in India by the worshippers. They also corres-
pond to the sacred pools excavated by the archaeologists in the site of the Indus Valley Civi-
lization (Harappa and Mohenjo-Daro), and which date from far earlier times than those of

Even the Medieval cathedrals had, just as did the temples of Isis everywhere, such magical
sources springing inside their underground crypts and filling their baptismal fonts. As a matter
of fact, the early Christian cathedrals were almost always built upon the ruins of the temples
of Isis which abounded everywhere in Pagan Europe. Such was the case, in particular, of the cathedrals of Rheims, of Chartres, and of Notre Dame, among many. Even in the Americas we
find precisely the same conception of barays placed on top the Holy Mountain of Paradise. For instance, the famous Incan pyramid of Akapana (Peru-Bolivia border) had a huge cistern (water reservoir) at the top. This reservoir fed a sophisticate network of hydraulic facilities used in
irrigation and internal plumbing of the other buildings, in a way that closely parallels the similar
devices of the Egyptian temples which we mentioned above and elsewhere.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:18:40 am

The Ark of Osiris guarded
by Isis and Nephthys

The Twin Cherubs And The Twin Goddesses

The two enormous Cherubs that guarded the Ark placed inside the inner sanctum of the Temple, enwrapping it with their wings (II Chr. 3:15; 5:8; Exo. 25:18; Heb. 9:5, etc.) closely evoke the
winged figures of Isis and Nephthys guarding the ark inside which lay the deceased body of de-
ceased Osiris (see Fig. 2).

They also recollect the twin winged guardians (or cherubs) that guarded the Tree of Life every-
where. The cherubs of Israel, of Phoenicia, of Crete, and of Mesopotamia also corresponded to
the Egyptian sphinxes, and were often represented as such guarding the Tree of Life, just as
the Great Sphinx of Giza guards the Great Pyramid.7

The two cherubs may well be the two kas (doubles or souls) of the twin gods (Osiris and Seth,
etc.). These, in turn, are identified to the twin obelisks of the Egyptian temples and their twin
pillars or pylons which represent the twin Holy Mountains of Paradise. This identification is also
suggested by the text of Revelation, which speaks of two Jerusalems (Celestial and Terrestrial),
two Temples (idem) and two gods (Christ and Jahveh) "who are their temples themselves", as
well as their twin Trees of Life and the twin sources of the Elixir (Rev. 21:22).

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:27:06 am

The Architecture Of The Egyptian Temple

The temples of Luxor and Karnak (see Fig.2 below) — dated at the 19th dynasty (c.1,300 BC)
— can be considered typical examples of Egyptian temple architecture. The entire area was
surrounded by a rectangular wall that delimited a holy court (the temenos). In front, stood a monumental gate or pylon flanked by two tapering towers which formed its jambs. These twin
pylons had a truncated pyramid shape, as can be seen in Fig.3(a) below. This pylon led into a colonnaded room (called the hypostyle hall) illuminated by means of small clearstory windows.
Through this hypostyle room, the inner court was reached via two other pylons and a series
of halls.

At the far end of the inner courtyard was the temple proper (or inner sanctum), dwarfish in com-
parison to the huge pylons and hypostyle rooms. The layout was monumental in style and deve-
loped along a central axis aligned with the Cardinal Directions in most cases. The processions,
typical of the Egyptian liturgy, took place along the center axis of the temple. This type of
temple developed during the Ramesside period and continued essentially unchanged until the
end of ancient Egypt.


FIGURE 3 (a)
The Temple of Ramses III
at Medinet Habu

In Fig.3 we show the temple of Ramses III built in Medinet Habu. As usual with Egyptian (and
Hindu) temples, the complex was built by several succeeding monarchs. It was started by
Queen Hatshepsut (at about 1460 BC) and enlarged by Tutmoses III. The former construct-
ions were, however, eclipsed by that of Ramses III, who turned the temple into his mortuary


FIGURE  3 (b)
the Temple at Medinet Habu

In this beautiful reconstruction of Ramses' temple, several features are worth noting. Moving
up from the bottom we have the landing stage at the Nile's bank, the low creneleted walls
and the Guard Gate, the lofty towers and the crenelated walls of the Southeastern Gate (for-
mally called Oriental Gate). This gate led to the front of the temple where we have the sacred
pool and the small temple of Tutmoses. Next comes the huge pylon of the temple (shown at
the center of Fig.3(a))with its four flagstaffs and the outer wall of the temple. This pylon leads
into the outer court and, at the left, the Royal Palace (possibly a temporary abode of the King
during his stays at the place).

Next we have the second pylon with its two guardians. This pylon leads into the inner court
which has, at the rear, the vestibule of the great hypostyle hall. This, in turn, leads into the
Inner Sanctum and exits to the great northwestern (formerly western) Gate. The sacred pool
was, as we said further above, the invariable feature of Egyptian temples. It was also the
counterpart of the Sea of Bronze of Solomon's temple, and the ghats of Hindu temples. In all
probability they were used, as in India and elsewhere, in purificatory ritual ablutions akin to
Baptism. Such sacred pools — called ghats in India — are attested from remotest antiquity in Harappa and Mohenjo-Daro, the sites of the mysterious Indus Valley Civilization, one of the oldest known to archeologists.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:38:10 am

Atlantis As The Land Of The Dead

The imposing structure of the Ramses III temple is closely reminiscent of that of Atlantis and its
lofty towers. Except that the square shape (Terrestrial) replaces the circular geometry (Celestial)
of its Paradisial counterparts. Besides the lofty crenelated watchtowers that were a typical characteristic of Atlantis and its many aliases (Hades, Lanka, Abzu, etc.), we also have here the
triple wall mentioned by Plato, as well as the sanctuary or inner temple at the center.

In this temple complex, which is indeed a replica of Paradise, the river Nile replaces the River
Oceanus that surrounded Atlantis in the Greek myths. The River Oceanus was a direct replica
of Hindu archetype, the Vaitarani. This impassable river or ocean was also called Aηayana =
"round goer", in Sanskrit. This Hindu name is the true etym (or etymon or etymology)of the word "Ocean", whose circular nature and meaning become then obvious. The name of the
Vaitarani (Dvai-tarani) also means the same thing as Aηayana in Sanskrit.

We should recall that the Atlantic Ocean was, originally, deemed to go round the whole earth.
That means the ancient world of Eurasia and Africa, such being the reason of its name of
"Ocean" or "Round Goer". This was the sense in which the name was used by the ancients,
including Herodotus, Plato and Aristotle. But modern users applied the name only to the
western portion of the Atlantic Ocean, forgetting its eastern moiety, the Indian Ocean.
Herein lies the root of all the confusion of those who unwisely insist in seeking Atlantis in what
we now call by the name of the "Atlantic Ocean". Once this essential difficulty is realized, the
solution of the riddle becomes real easy and natural, as we argue in detail elsewhere.

The temple of Ramses III was built as a mortuary complex in order to commemorate the fact
that Atlantis too was dead, just as was its great god (Osiris, Atlas, Shiva, Poseidon). Osiris
was indeed, like Atlas, the true "Pillar of the World". Such is the reason why he was comme-
morated by the Djed Pillar, indeed the Pillar of the World (Djed, Stambha, Matseba, Atlas,
Meru, etc.).

It is no coincidence that the Oriental Gate, the main entrance to the temple of Medinet Habu,
opens to the southeastern direction. In fact, it points to the direction of Punt or Amenti (Indo-
nesia) to be reached by heading in this exact direction along the Red Sea and beyond. This
point is crucial, for it indicates that Amenti lay, in contrast to what its name suggests, to the
south rather than to the west of Egypt.8

The triple girding wall of the temple of Medinet Habu was, as we said above, mentioned by
Plato as a feature of Atlantis. This coincidence suggests that Plato indeed obtained his info-
rmation concerning Atlantis from Egyptian sources, just as he claimed in the Timaeus and
the Critias. Why would the great philosopher lie in such holy, fundamental issues, so import-
ant to the humanity to whom he devouted his life to enlighten?

The Egyptian temples were verbatim copies of Hindu temples, themselves replicas of the
Atlantean Paradise. This model city — also the archetype of the Celestial Jerusalem — is
Lanka, the capital of Ravana's worldwide empire (Atlantis). This City (Pure Land) is illustrat-
ed in the so-called Kalachakra mandalas, and its triple wall (trimekhala, in Sanskrit) is its
most characteristic feature. By the way, the Celestial Jerusalem is also traditionally equipp-
ed with a triple wall, like Atlantis.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:40:31 am

The Meaning Of The Temple's Pylons

The pylons of Egyptian Temples — their most outstanding feature — have a very specific
symbolic meaning. Before entering their analysis, let us quote the excellent British Museum
Dictionary of Ancient Egypt by I. Shaw and P. Nicholson (London, 1995) on the entry "Pylon".
Pylons are, according to this erudite source:

Massive ceremonial gateways (Egyptian bekhenet) consisting of two tapering towers linked
by a bridge of masonry and surmounted by a cornice. Rituals relating to the sun-god were
evidently carried out on top of the gateway... The earliest known pylons may have been con-
structed in the pyramid complex and sun temple of the 5th Dynasty ruler Nyuserra
(2445-2421 AC)...

Many [pylons] also contained internal stairs and rooms, the purpose of which is uncertain.
Ancient depictions of pylons show that the deep vertical recesses visible along the faηades
of surviving examples were intended to hold flagstaffs... Such flags would have had particular significance in the context of the temple, in that the Egyptian word for "god" (netjer) took the
form of a symbol usually interpreted as a fluttering pennant.

Pylons were frequently decorated with reliefs enhanced with bright paint and inlays, in which
the scenes tended to emphasize the theme of royal power... The most common motif on the
pylon was that of the king smiting foreign enemies or offering captives to a god.

The illustrious authors go on to say further:

Many important temples had only one pylon, but the more important religions complexes con-
sisted of long successions of pylons and courtyards, each added or embellished by different
rulers; the temple of Amun in Karnak, for instance, had ten pylons.

In the unusual temples dedicated to Aten... the pylons consist of pairs of separate towers
without any bridging masonry between them. It is likely that the pylon represented the two
mountains of the horizon (akhet) between which the sun rose, thus contributing to the temple's
role as a symbol of the cosmos and the act of creation. The towers were, each, identified
with the goddesses Isis and Nephthys.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 08:43:59 am

Gerzen Vase
c. 3500BC

The Gerzean Connection

The Gerzeans were a civilization of pre-Dynastic Egypt during the Nagada II Period
(3,500-3,000BC). The Gerzeans were probably Semitic, probably of proto-Phoenician stock,
to judge from their symbols and their white, bearded figures. The Gerzeans invaded and
conquered Upper Egypt, where they became established down to the start of dynastic
period, when they were apparently expelled by King Menes, the unifier of ancient Egypt.
Gerzean vase decorations are rather unique for their epoch. As can be seen in Fig.3(c),
these decorations center on galley ships of up to 200 rowers each, which are amazing large
for the epoch in question. These decorations also include a dancing naked goddess, the
ithyphallic twins, palm-trees, twin pylons, peaked volcanic mountains, standards and

Other vases (not shown) display a hilly foreign country (Punt?), flamingos and tiger or leopard
skins. As we explain elsewhere in detail, these strange decorations are all typical Atlantean
motifs. Atlantis — and its many aliases such as Punt, Ophir, "Tyre", "Phoenicia", Phaeacia,
etc. — is often symbolized by a huge ship that sunk to the bottom of the seas, as described
in Part I of the present article. This ship is the same as the Holy Barque of the Egyptian
temples. It is also the Celestial Ship, the Argonavis constellation, as well as the Ark of Sal-
vation, the Argos ship, and so on, as we adduced further above.

Likewise, the twin cabins shown at midships of the vase decoration of Fig.3(c) are visibly
the archetypes of the sacred pylons of the Egyptian temples. So, they too represent the
twin Pillars of Hercules, the Gates of Paradise, that is, of Atlantis, as we already said. The
fact that they represent the twin mountains of Punt (Paradise) is directly indicated by the
hieroglyph of the twin mountain on top the two cabins and on the standard of the ship.
Again, the ithyphallic twins represent Atlas and Hercules and, more exactly, Seth and Osiris,
their Egyptian counterpart. If this interpretation is correct, we see here the antecedents
of these important Egyptian gods, as well as that of the Tale of the Two Brothers, famous
in both Egyptian and Phoenician mythologies.

The Dancing Goddess is another important, universal motif. She is Hathor, the Great Mother,
as well as the Shulamite of the Song of Songs, dancing before the two armies ready for
battle (the Battle of Atlantis = Armaggedon). She is Dawn or Aurora (Ushas, Eos), and
represents Lemurian Atlantis (Eden), the Great Virgin Mother of both gods and men. Her
"dance" is the fatal dance which allegorizes the earthquake that razed Atlantis, sending
it to the bottom.

In reality, the Goddess personifies the Cosmic Yoni, the Submarine Fiery Mare of Hindu
myths, the gaping abyss opened by the cataclysm, and which is no other than the giant
volcanic caldera of the volcano that destroyed Atlantis. The ithyphallic Twins are, again,
the other two peaks of the holy Triple Mountain of Paradise, with the "sun" at the center
representing the third, collapsed peak, the Vadava-mukha. The Triple Mountain was the
site of Paradise (Lanka or Atala) in Hindu traditions, and its central peak was deemed
"the Pillar of Heaven", just like Mt. Atlas.

The palm trees are again connected with Atlantis. They represent the Primordial Phoenicia,
a name signifying "Land of the Palm Trees" in Greek. This name is a translation of the Hindu
name of Atala, which means the same thing in Sanskrit. The streamers and standards again
identify Punt with Atlantis and, more exactly, with the Indonesian sunken continent. They
are the glyph of Punt, as well as the symbol of the Pillars of Hercules in Phoenician traditions.
In reality, the streamers visually translate the ancient local name of the Malay Peninsula,
Setubandha (called Punt in Dravida), which means "Connecting Band" or "Connecting Bridge"
in Sanskrit.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 06:51:15 pm

The Pylons Represent The Pillars Of Hercules

The above comments are very enlightening in what concerns the symbolism of the pylons
of Egyptian temples. First of all, let us moot out the fact that they represent the twin
peaks of the Mountain of the Orient (or "Horizon") between which the sun rose daily.
This mountain was — in the whole of the Ancient World, and not only in Egypt — con-
sidered to be the abode of the sun-god. In fact, as we already said, the twin peaks of
 the Mountain of the Orient and the Occident which is so prominent in Egyptian and in
Phoenician mythologies, ultimately derives from the Hindu traditions on Mt. Meru, called
by precisely these epithets in India. The twin peaks of Meru are called, respectively,
Sumeru and Kumeru, the radix su meaning "to rise" and ku meaning "to sink" in Sanskrit.

One aspect of Horus (and of the Great Sphinx) was called Horemakhet (or Harmakhis),
that is, "the Horus of the Horizon" (or of the Orient). This is the old Horus (Aroeris),
the brother or alias of Osiris, in contrast to the new Horus (Harpocrates), the son (or
renewed avatar) of Osiris. "Horizon" here has the sense of "Orient" or, rather, of Lanka
(Indonesia), the Land of Sunrise whence both the Phoenicians and the Egyptians, as
well as their gods, originally came.

In Fig.4 we have Egyptian representations of the sun rising between the two peaks of
the Mountain of the Orient. In Fig. 4(a) the mountain is represented as a pylon or gate
as in the Egyptian Temples.9

In Fig. 4(b) the characteristic hieroglyph of the sun rising between the two peaks of
the Mountain of Sunrise is topped by the one of "heaven", as well as by the Twin Lions
(Acker or Ruty). The Twin Lions stand for Lanka ("the Island of the Lions") and its Indian
dual, Shri Lanka. They also represent Orient and Occident (Rustu and Amh). In reality,
as we explained above, the Mountain of the Orient represents Trikuta, the three-peaked
mountain on whose top Lanka, the capital of the Atlantean empire, was edified. As we
said, the central peak of Trikuta sunk away, becoming the giant submarine caldera of
the Krakatoa volcano that separates the islands of Java and Sumatra.

The "sun", here, is an allegory (just as is the blooming lotus) of the colossal explosion
of its central peak (Mt. Atlas, the central pillar), an event that, according to tradition,
was "brighter than a thousand suns". The central peak collapsed and disappeared under-
seas, leaving an open passage (a strait or "door") in its place. Hence, the Triple Mount-
ain became the twin pylons, the equivalents of the two Pillars of Hercules. The central
peak, Mt. Atlas, the Pillar of Heaven — having disappeared from view and leaving behind
merely the glow of its explosion, bright as a new sun — became the "Door" they flank.
And this "door" or "gate" is the Gateway of Heaven, symbolized by the pylons of Egypt-
ian temples. In reality, this Gate of Heaven is no other than the maritime Strait of Sunda
, in the Orient, replicated by that of Gibraltar in the Occident. Together, they form the
Four Pillars of the World which the Egyptians allegorized as the four legs of Hathor as
the Celestial Cow or as the four members of the goddess Nut posed on the ground, as
illustrated in our discussion in Part I of this work.10

Almost invariably, the pylons of Egyptian temples were decorated with bas-reliefs show-
ing the king (the alias of the god) striking down masses of prisoners in a display of his
power. The king has a raised arm wielding the mace with which the strikes down his
victims. Again, this motif is, far more than just a decoration, indeed another allegory
of the destruction of Atlantis.11

As shown in the pylon of Medinet Habu (Fig.3(a)) and, more clearly, in Fig.5, below,
the striking god often wears the triple crown that symbolizes Trikuta, the triple-peaked
mountain. This triple-peaked mountain, often with the central summit represented ex-
plicitly or, conversely, symbolized by a stunted, sunken down portion is also represented
in the triple spires of Christian cathedrals and churches. The "sun" that shines at the
center of the Holy Mountain of the Egyptians is an explicit representation of the colossal
explosion of its volcano. In Christian symbolism, this "sun" is often figured by a rose-
window, a symbolism taken directly from Hindu and Egyptian archetypes. The rose-
windows represent the Golden Lotus, itself an allegory of the colossal "mushroom" gene-
rated by the giant explosion of Mt. Atlas. 12

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 06:55:09 pm

The Temple Of Herod, The Great

In Fig.6 we show, in perspective and in plan, an ideal reconstruction of the Temple of
Herod, the Great. We see how this temple — built in Jerusalem and often mistaken with
the (fictive) Temple of Solomon — roughly follows the plan of Egyptian temples. In parti-
cular, the triple structure is visible, and so is the separation into an outer courtyard for
the gentiles and an inner one for Israel and the priests.

A third inner court was reserved for the women (hierodules?) and in the innermost region
lay the holy of holies and the sacrificial altar. Herod's temple was built after the ideal
models of the Temple of Solomon and the Temple of Ezekiel. The holy of holies (or inner
sanctum) was separated by a curtain from the outer sanctum. Only the high priest could
enter this most sacred precinct.

There is yet an important point connected with the symbolism of the Temple of Jerusalem:
the insistence on the number ten. This number is precisely the one of the independent realms composing the Atlantean empire, according to Plato. The Sea of Bronze of the Temple had
a diameter of ten cubits. Hiram built ten bronze basins and ten carts for them, so that they
could be easily moved around is order to be used in ritual ablutions.

Likewise, the altar of the Temple, built of bronze, was ten cubits high and twenty cubits
(2x10) on a side. The inner sanctuary was decorated with ten golden candlesticks "built in
the prescribed manner" and posted at ten tables, probably also of gold or bronze. The width
of the Temple was twenty cubits (about 10 meters) and its inner sanctum was a cube of
about 10 meters on a side (20 cubits).13

The vestibule of the inner sanctum was also a cube of about 10 x 10 x 10 meters (20 cubit
on a side). The altar was 20 cubits on the sides and 10 cubits tall, that is, a half cube of
about 10 meters on a side. Ten was indeed the sacred number of Jahveh (the Ten Command-
ments, etc.), just as Seven (the Seven Days of Creation, etc.) was the one of Elohim.
Hence, it is not unreasonable to suppose that there was a connection between Jahveh and
his Temple with Atlantis and its ten realms.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:02:31 pm

The Twin Flags Of Egyptian Temples

The flags shown in the Ramses temple of Medinet Habu (Fig.2) were a feature of essentially
all Egyptian temples. As we saw above they represented the netjesr (or neters = "gods")
and served as an emblem of godliness and, more exactly, of the Land of the Gods (Punt)
that the temple replicated in miniature. This identification can again be traced back to India
and the traditions concerning Jambudvipa and its lofty ensign, "visible to all nations".

The ensign or banner also came to symbolize, in the ancient world and, in particular, among
the Phoenicians, the same as the Pillars of Hercules. These are often represented by a pair
of flagstaffs or beams, on whose tops were hung flags or hanging strips of cloth. 14

The strip of cloth (banner, streamer, etc.) also represents Setubandha (lit. "Connecting Strip
(or Band)") the other name of Jambu-dvipa and, more exactly, of Indonesia and the Malay
Peninsula. Hercules, the personification of the pillars that bear his name, invariably wore a
bandolier or stole which was the alias of the connecting strip of land that linked his secret
realm to the continent.

In reality, we had two pairs of Pillars of Hercules, precisely as shown in the outer pylon of
the temple of Medinet Habu (Fig.2). One pair corresponded to the illusory pillars of Gibraltar
and the other pair to the real ones that flank the Strait of Sunda, in Indonesia.15

So, in the outer court of the temple — the one allowed to the uninitiated profanes — we had
two pairs of Pillars of Hercules: the one of Gibraltar (known to all, but "virtual") and the one
of Sunda (real, but known only to the initiates). In contrast, at the inner pylon (see Fig.2) we
have only one pair of flagstaffs.

This gate, accessible only to the initiates, represents the actual reality that the two pairs
are indeed only one. The message is clear. One has first to cross the virtual gate of Gibraltar
in order to reach the second gate or pylon that accesses the real Paradise, here figured by
the multitude of pillars of the hypostile chamber that represents Atlantis.16

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:16:10 pm

The Saints And The Gods Of Atlantis

These pillars represent the "saints and gods of Atlantis". Far more than sheer metaphor, the
idea refers to the fact that the Atlanteans were literally turned into stony "pillars" by the
volcanic ash that settled upon their dead bodies. This is what happened in Herculaneum and
Pompey and this is indeed what is meant by the tale of Lot's wife turning into "a pillar of salt"
on the occasion of the destruction of Sodom and Gomorra by a volcanic conflagration (Gen.
19:26; cf. Luke 17:32).

In front of the jambs of the second pylon of the Temple of Medinet Habu (Fig.2) stand the
gigantic figures of two deities guarding the entrance to the inner chambers. These two
guardians, either seated or standing, were an invariable feature of Egyptian temples. They
represent the two cherubs that guard the entrance to Paradise itself. That they do not
indeed represent the pharaoh is attested by the fact that these gods are twin, whereas
the pharaoh was the monarch, the single ruler of both Upper and Lower Egypt.

These two Guardians correspond to what the Hindus call Lokapalas or Dvarapalas. They
often change into lions, karibus, sphinxes, standing serpents (nagas), dragons or similar
monsters. In reality they correspond to Atlas and Hercules, the twins (or "pillars") that
guard the straits that serves as the Gates of Paradise. The inner court is elevated, and is
accessed by means of stairs, as can be seen in the reconstruction of Fig.2. The stairs
represent the ascent to Heaven (or Paradise) placed, as it is, upon the Holy Mountain
(Mt. Meru) that is everywhere represented by stepped pyramids.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:19:14 pm

The Stepped Pyramids And The Babylonian Ziggurats

In Egypt and Babylon — where mountains essentially inexist — the Holy Mountain was repre-
sented by stepped pyramids or by stepped ziggurats. The shape eventually evolved into
that of smoothed out constructions. But the idea that they represented the stairway to
Paradise was preserved in myth and ritual and, as here, in the symbolic staircases of the
temples. However, the step pyramids everywhere represent the Mountains of Paradise
(Meru or Trikuta) which were indeed stepped due to the terraces built on their slopes for
agricultural purposes.17

Finally, the inner sanctum (or adytum) of the Egyptian temples was, like the one of the
Temple of Jerusalem, the sacred precinct where the dead god of Paradise reposed inside
his ark or coffin, until the time came for him to resurrect back to life. As we said above,
Osiris inside his ark, dead and guarded by the winged figures of Isis and Nephthys literally
correspond to Jahveh inside his ark (tebah) and, likewise, guarded by the two winged Cherubs.

The inner sanctum of the temple represents the Holy Mountain inside which Osiris and his
many aliases (Yama, Kronus, Saturn, Shiva, Jahveh, Christ, and so on) lay entombed,
awaiting for the moment when they are to resurge in the glory of the parousia to bring
back the Golden Age and the Millennium.

By the way, the century old discussion whether the pyramids were tombs or cenotaphs
of vainglorious pharaohs or, yet, initiatic temples or otherwise is utterly foolish. The same
question can be asked of Christian cathedrals and indeed of any of temple or church or
synagogue or lodge or crypt.

They all serve the same ritual purpose and they all commemorate the same event: the
death of Atlantis-Paradise represented by its deity and the hope (or certainty) that it
will resurge back to life with its god and all its saints in the day of the Resurrection of
the Dead. Such is the tenet of Christianism, of Judaism, of Hinduism and, in all probability,
of all religions, including that of ancient Egypt. For, religion is hardly anything else than
the hope of the return of Paradise. And this is proven by the fact that we daily pray to
God to "let Thy Kingdom come". So do the Hindus with their "Om, Mani Padme Hum!". And
so also the other nations, each in their own peculiar way, daily beg for the immediate
coming of the New Era, when Atlantis-Eden and its many dead will resurge from the waters
where it lies buried.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:22:18 pm

The Pyramids Of Egypt As Mortuary Temples And Cenotaphs

The pyramids of Egypt — just like the ones of Indonesia, of the Far East and of the
Americas — were mortuary temples built for the repose of the dead god. This god was
often represented by the person of his dual and replica (ka), the pharaoh, the Living
Osiris. Whether the pharaoh was buried or not inside the pyramid he built for his double
is immaterial. Indeed, the pyramids were mostly cenotaphs, that is empty mortuary
temples. The body of the pharaohs was usually buried elsewhere, generally in the tombs
in the Valley of the Kings.

Likewise, many kings and emperors of the ancient and the medieval times were actually
buried inside churches and cathedrals, which no one ever equated with tombs. Like the
pyramids and temples of Egypt and elsewhere, the Christian churches too are stylized
replicas of the Holy Mountain of Paradise inside which the saints and gods of Atlantis
lie entombed. And, as we said above, their triple spires explicitly represent Mt. Trikuta,
the Triple Mountain of Paradise.

The coffins and sarcophagi found inside the Egyptian pyramids were either due to intrus-
ive burials or utterly empty, as many specialists have concluded. This fact proves beyond
reasonable doubt that the pyramids of Egypt were, like the temples, the symbolic sepul-
chers of the dead god. This is the reason why they were utterly empty, at least in a phy-
sical sense. It is in the same sense that the throne of Buddha is traditionally represented
as empty. So is its counterpart, the Ark of Covenant, the throne (or footrest) of Jahveh.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:27:38 pm

The Far Eastern Origins Of Egypt

Turning now to the Far East and to the origins of Egyptian civilization. We already men-
tioned above that the Egyptian pyramids derived — in both form and symbolism — from
the pyramidal complexes of Indonesia. Indeed, as we argued above, everything indicates
that Imhotep — with whom the art of pyramid building arose in Egypt ready and perfect
from the start — was probably just the leader of a workgang of skilled stone masons and
artificers imported from Indonesia. This was done in the same way that Solomon would
later import from the same region a similar staff led by Hiram Abiff, the semi-legendary
founder of Free-Masonry.

The stepped pyramids of Angkor and Indonesia are not only as perfect and as magnificent
as those of Egypt. They derive from local traditions like those of the Ramayana and the
Mahabharata, which are far older and far more local than those of Egypt. The sole ex-
ception may be the three great pyramids of Giza. But then, many clues point to the fact
that they are of Atlantean origin and far predate the presence of the ancient Egyptians
in the region. Indeed, these three sister pyramids apparently represent the three peaks
of Mt. Trikuta, the triple Mountain of Paradise which we have been discussing.

We disagree with the theory which holds that these pyramids represent the stars of
Orion's Belt. We calculated the discrepancies in that representation, and they are gross-
ly in error insofar as the angles, the intensities and the relative distances are involved.
All three magnitudes deviate by more than 20% or so, an error far above the capabilities
of the meticulous Egyptians, whose precision was typically within 0.01% or better under
similar circunstances.

Unfortunately, the older monuments of India and Indonesia have mostly disappeared. And
this was due not really due to the passage of time but mostly from the action of man
himself, who consistently pillaged the ancient monuments either to construct new ones
or, worse still, for sheer fanaticism and wantomness.

Besides, the cataclysm that sank Atlantis under the South China Sea probably carried
under all or most of the magnificent structures that we are allowed to expect from such
a superior civilization of semi-divine ancestors. Who knows what wonders and treasures
await the undaunted explorer who dares to search where no man has yet looked so far?
People have systematically been searching in the wrong places for Atlantis, which is in-
deed the true site of Eden and of the Eldorado, and other such Golden Paradises. Small
wonder then that their results so far have been essentially nil.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:32:16 pm

The Pyramids Of Borobudur

Even the meager remains of Indian and Indonesian pyramids that have survived from a
relatively recent past are splendid enough to dazzle even the hardiest of skeptics. The
fact that the pyramidal symbolism is very much alive and meaningful in the Indies, in con-
trast to, say, Egypt, where it never was explained at all, is proof enough of its origin
there, in these countries full of the mountains portrayed by the pyramids themselves.
The pyramid complex of Borobudur (Java) has been hailed as the most significant monu-
ment in the Southern Hemisphere and, perhaps, even of the whole world. Its pyramid
stands on a hill and rises 35 meters from its base, which measures 123x123 square meters.

The pyramidal monument itself consists (like Zozer's pyramid) of six square steps. Upon
them are three further round steps topped by a bell-shaped stupa. In all, we have ten
steps (the number of Atlantis and of Jahveh). The beautiful structure of the Borobudur
pyramidal complex is shown in Fig.7. As can be seen, this magnificent pyramid is the
stony embodiment of a mandala, a stylized representation of Paradise and its several

The topping stupa (chapel) contained the Adi Buddha, that, is "the Primordial Buddha".
In the Buddhist conception, Adi Buddha was the Primordial Man, the same one who the
Judeo-Christians equate to Adam, the Hindus with Purusha and the Egyptians with Osiris.
One can also see, in Fig.7 above, the trimekhala (or "triple surrounding wall") that is a
feature of all such representations of Paradise. This triple wall corresponds to the one
of Atlantis, and is encountered in all such Hindu representations of Paradise. It also
figures in the description of sunken Paradises turned Hell such as the one of Tartarus
in Hesiod (Theog. 726) and in the one of the Celestial Jerusalem of the Book of Revelation.

As we said, Borobudur is one of the most impressive monuments ever erected by man.
It is both a temple and a memorial where the cryptic doctrines concerning Adi Buddha
and his mysterious Paradise are exposed to the initiates. And these doctrines center
on its destruction by fire and water, just as happened to Atlantis. If that connection is
allowed, there can be no doubt that the myth of Atlantis originated in the Far East, as
it indeed did.18

The pyramid of Borobudur represents the Holy Mountain (Mt. Atlas or Meru), just as the
whole complex represents the Holy City. This six stepped pyramid is capped by a shrine
(or stupa) itself composed of three round stages topped by a bell-shaped shrine where
the relics of Adi Buddha were contained. In this, Borobudur closely corresponds to Zozer's
pyramid which is, likewise, six-stepped and was (originally) topped by a shrine now gone.
This seven stepped structure is also characteristic of Egypt. Its pyramids almost invariab-
ly have seven steps, even though these may been hidden under the smooth outer cladd-
ing. As we see, both in Indonesia and in India, pyramids fit the local traditions and the
local geography, in contrast to Egypt and Mesopotamia, or even the Americas, where
they make no sense at all, and where archaeologists still argue whether their purpose
was to serve as tombs, cenotaphs, temples or whatever.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:35:36 pm

Borobudur And The Several Levels Of Reality

The symbolism of Borobudur centers on the gradual revelation of the several levels of
reality to the initiants, more or less in the way the Egyptian temples did, as explained
above. The lowest levels of Borobudur corresponds to the basest manifestations of
reality and progress in the upper levels, until the ultimate reality — the one correspond-
ing to the highest condition of spiritual enlightenment — is reached in the uppermost
level. It was meant to enlighten the visitor and to cause his spiritual progress, as he
ascended gradually and finally reached the summit.

The monument proclaimed the unity of the Cosmos permeated by the light of Truth. It
explained the apparent paradox of the union of incongruals such as Good and Evil, Fire
and Water, Truth and Illusion, Creation and Destruction, Male and Female, and so on, in
the one person of God as the Supreme Reality. Adi Buddha, "the Primordial Wisdom" is
precisely the knowledge of our paradisial origins in the Far East, in the region of Indonesia.

Adi Buddha is the same spiritual reality that the Hindus call Mahavidya ("Supreme Wisdom");
that the Gnostics call Gnosis or Sophia ("Wisdom"); that the Jews named Hokhmah ("Wisdom")
or Binah ("Understanding"), and so on. It is no coincidence that we have ten sefirots (or
"aspects of divine manifestation"), just as we also have ten steps in Borobudur's pyramid
or ten "lights" in the Temple of Solomon. For, after all, ten is the number of (Indian) Atlantis,
just as seven is the one of Paradise (Lemurian Atlantis).

Title: Re: The Atlantean Symbolism Of The Egyptian Temple
Post by: Bianca on February 20, 2008, 07:40:07 pm

The Wondrous Pyramids Of Southeast Asia

Another wonder of Southeast Asia are the temples of Angkor and, particularly, Angkor
Vat and Angkor Thom. The Wat is an enormous pyramidal complex of some 1500 x 1400
m2 . The complex is surrounded by a vast cloister and is approached from the west.
This is done via a monumental paved road built upon a causeway delimited by balu-
strades formed from standing serpents (nagas). These Nagas symbolize the Cosmic
Pillars that support the world, and which are the Eastern counterparts of the Titan
Atlas. The reference to Atlas suggests an undeniable connection with Atlantis.

The Wat rises in three concentric enclosures that define three courtyards, as in the
Jewish and the Egyptian temples discussed above. The symbolic meaning of the Wat
pyramidal complex is clear to specialists. It corresponds to the Polar Mountain (Meru),
the hub of the universe. The central shrine corresponds, as in Borobudur, to the supre-
me reality, while the lower levels, the gate complex, the cloister, the city of Angkor
and the outer world represent, in descending order, the outer shells of reality. The
orientation of Angkor Wat towards the West represents the fact that it was a mor-
tuary temple.

The Angkor Thom is even more grandiose than Angkor Vat. Like its predecessor, it repli-
cates the sacred city of Paradise (Lanka), built upon the slopes of Mt. Meru. The city
was in turn, also a symbolic replica of the Cosmos, on whose shape it was designed.
This symbolic universe follows Hindu Cosmological doctrines. When possible, the kings
of Angkor utilized natural hills for the construction of their holy cities. When this was
impossible, they built artificial mountains in the shape of stepped pyramids like the
beauttiful ones of Angkor Thom and Angkor Vat.

The central pyramidal complex of Angkor Thom, the Bayon, is the biggest though not
by all means finest of them all. Within the moats of Angkor Thom, fully 16 km around, l
ie the huge complexes of buildings and of barays (dams), lakes and irrigation channels
that formed the sacred city, its temples, houses and palaces.

The plan and conception of angkor Thom are both grandiose. But the execution — press-
ed by the huge size and the enormity of the work to be done — is somewhat poorer
than the refined art of its predecessors such as Angkor Vat and others. The plan of
Angkor Thom illustrates the creation of the Cosmos darting from the Center (Mt. Meru),
and spreading in successive waves from it. This plan is based in the Cosmogonic myth
known as The Churning of the Ocean of Milk and, even more exactly, in the lotus-like
mandalas such as the beautiful Shri Yantra.19

The two monumental roads leading to the central tower of Angkor Thom are lined with
a mile-long road of divine personages pulling on the body of the Serpent Shesha (Vasuki)
in a giant tug-of-war, exactly as in the myth just mentioned. The serpent is coiled around
the Polar Mountain (Meru) that served as the giant churning stick activated by the devas
and the asuras. The two parties pull on opposite sides of the churning rope which consists
of the immensely long body of the Serpent Shesha. Below, at the bottom, lies the Turtle
(Kurma), that represents the Paradise sunken to the bottom of the Ocean of Milk in con-
sequence of the war.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 07:42:55 pm

The Paradisial Fountains Of Life

The complex of Angkor Thom is also decked with lakes and ponds and fountains repre-
senting the healing waters of Paradise (called Barays). These symbolize the Fountains
of Life that are the central feature of Paradise everywhere. Another important myth
illustrated in Angkor is the Legend of the Leper King and his magic healing by means of
these wondrous waters which are no other than the Elixir.

This ancient Hindu myth somehow passed into Christianity, where the Leper King is ident-
ified with King Abgarus and his magic healing is attributed to the Holy Sudary, the actual
image of Christ obtained by equally magical means. There can be no doubt that the legend
of the Leper King originated in the Indies. There it dates from times well before the advent
of Christianism as a religion on its own. This serves to prove the force of diffusion of myths,
legends and religions traditions from earliest times and from the most remote regions of
the world.

Hence, it should not come as a surprise to find out that a similar diffusion also took place
for the far more important traditions concerning Atlantis and its destruction at the dawn
of times. It was precisely the destruction of Paradise that forced the survivors to come
out from Eden and move into distant regions of the world to which they brought the light
of their civilization and their beautiful religion.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 07:54:14 pm

The Origins Of Religion And Civilization In Paradise

There can be no reasonable doubt then that Religion and Civilization developed in Paradise,
just as our myths and traditions affirm. From there, after its destruction it was handed
down to us by the survivors of the Atlantean cataclysm. They appeared to us primitives
as the gods the angels, the saints, the heroes and the demons that are invariably men-
tioned in all ancient traditions. Hence, just as the Hindus philosophically affirm, there are
evils that come to good. And we also see that Catastrophism is indeed a fundamental
aspect of Evolution, despite the skepticism of the academicians imbued with the arrogan-
ce of the science they mistake for Wisdom and, often, for Compassion.

Creation spreads from its Cosmic Centers due to the impact of bangs and catastrophes
such as the one that destroyed Atlantis and caused the end of the Pleistocene Ice Age.
Such is the idea embodied in the Shri Yantra and in the Kalachakra mandalas that are pre-
cisely the graphic expressions of the doctrines of Tantrism and of Kalachakra Buddhism.
Hence, we see, much to the surprise of most of us, that Religion is indeed Wisdom, and
that it is invariably far more right and truthful than Science.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 07:56:35 pm

The Egyptian Pylons Are Indeed Truncated Pyramids

The giant pillars (or "pylons") characteristic of the gateways of the Egyptian temples
are indeed truncated, rectangular pyramids.20

Truncated pyramids and obelisks are a constant in Egyptian symbolism. This symbolism
has passed into Masonic ones, and a **** pyramid figures in the Great Presidential of
the U. S., as shown in Fig.8. The shiny "Eye of God" which substitutes the top of the
Great Pyramid in Fig.6 symbolizes the fact that the Holy Mountain was indeed a volcano
that had its top blown off. Such is also the symbolism of the stunted pylons of the Egypt-
ian temples as well as the one of their archetypes, the gopuras of Hindu ones.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 07:59:49 pm

The Reality Of The Triple Mountain (Trikuta)

In reality, the pylons of Egyptian temples represent the Triple Mountain (Trikuta), the
true archetype of Mt. Atlas. More exactly, as we already said, the Central Pillar was
blown off by the explosion and became a "naval passage" or "gateway" (a strait) flank-
ed by the two remaining pillars, the Pillars of Hercules.

Such is indeed, we repeat, the symbolism of the imposing pylons that invariably garnish-
ed the entrance of Egyptian temples of Ramesside and later times. The same symbolism
was also expressed by the two obelisks that very often also figured before the pylon it-
self. These corresponded to the pillars of Solomon's Temple (Jachin and Boaz).21

As we discussed further above, the two flagpoles that also decorated the pylons of Egypt-
ian temples likewise corresponded to the two Pillars of Hercules. More exactly, the twin poles represented the Twins of Gemini, a word that means "Twins" in Latin. The Celestial Twins
are represented in the Zodiac by a pair of parallel poles, another symbol of the Pillars of
Hercules. The Twins, often identified with Castor and Pollux, are also called the Dioscuri
(from Dios-kouroi, "the Divine Boys (or Twins)"). The Dioscuri are copied, almost verbatim,
from their Vedic archetypes, the Ashvin Twins. But these two founders of the world are no
other than the archetypes of Krishna and Balarama and, hence, of Atlas and Hercules. As we commented further above, these gods are also the Twins figured on the two jambs of the
pylons of Egyptian temples and indifferently butchering the Atlantean residents of Paradise,
at its destruction.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:02:06 pm

All Roads Lead To Paradise

As we see, no matter where we look, we always end up with the myth of Atlantis. Hence, recapitulating what we just adduced above. The two pylons (or stunted pyramids) of the
Egyptian temples correspond to the two pillars (Jachin and Boaz) that decorated the Temple
of Solomon. They also correspond to their two obelisks and their two divine flagpoles (neters),
and even to their twin guardians.

They also evoke the Phoenician twin pillars dedicated to Baal Melkart (Hercules) and his twin
and dual, Yam or Mot ("Death"). These two objects also stood for the Dioscuri Twins (Castor
and Pollux) and for their Hindu archetypes, Krishna and Balarama. In Vedic terms, they refer
to Gada and Agada, the Ashvin Twins who stand for the two destroyed Paradises, Atlantis
and Lemuria.22

To sum it all up: the two pillars (or "pylons") correspond to the two Pillars of Hercules that
demarked the entrance to Atlantis or, yet, the Gateway of Eden. But these Pillars of Hercules
were not indeed the ones at Gibraltar (phony ones) but the ones that flank the Strait of
Sunda in Indonesia and which are the real Pillars of Hercules that allowed the ingress to Para-
dise in antiquity, before Atlantis was destroyed by the Flood.23

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:05:04 pm

Christian Cathedrals Equivalent To Egyptian Temples

It is interesting to note that the symbolism of the Christian cathedrals and churches closely
correspond to the one of Egyptian temples. In them, the spires or towers substitute the
twin pylons or pillars of Egyptian temples. The towers of many cathedrals such as Notre
Dame (see Fig. 9) are stunted in just the way that the two pyramids of the pylons of Egypt-
ian temples also were. The idea is to represent the fact that their tops were destroyed in
a giant volcanic explosion, the one that destroyed Paradise.24

The flimsy third tower of Notre Dame represents the regrowth of the destroyed Paradise. More
exactly, since volcanoes are eternal and start to grow back as soon as they explode, the
flimsy third tower of Notre Dame's cathedral represents the volcanic peak growing back and
starting a new era of mankind in the eternal succession of Cyclic Time.

Many authorities such as Hani — whom we already quoted at the opening of the present
chapter — recognize the fact that Christian churches and cathedrals are a replica of Para-
dise. They also recognize that their spires represent, just as do those of Hindu and Egyptian
temples, the lofty mountains of Eden. Thence flowed the River of Life, branching out into
four rivers, in perfect correspondence with the Hindu myths on Mt. Meru, the Mountain of
Paradise. In other words, the three traditions — Hindu and Christian, as well as the Egypt-
ian one — agree not only in what concerns geometrical patterns, but also in the symbolism

As it is not conceivable that the far older and extremely conservative Hindus cribbed their
temple symbolism from that of the Christians, or even from the Egyptians, we are compelled
into accepting that the diffusion took the opposite direction. In fact, both the Egyptians
and the Christians acknowledge that their doctrines, symbols and traditions originated in
Paradise. The Terrestrial Paradise was indeed an actual place, called Punt by the Egypt-
ians and Eden by the Jews. Now, these two sites are one and the same thing. They
were located Indonesia or, rather, in the Australasian continent beyond it. This vast piece
of land was sunken down at the end of the Pleistocene Ice Age, some 11,600 years ago,
the very date given by Plato for the demise of Atlantis. Coincidences? No chance!

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:08:26 pm

Are Indian Temples Older Than Egyptian Ones?

Egyptian temples appear to be consistently older than their Hindu and Indonesian counter-
parts. This is due to the fact that the Egyptian temples were buried under the desert
sands, and were thus spared in great extent from the fanatic destruction by the early
Christians and their successors, the Muslims. The Indian temples were methodically razed
by the Muslims, and hence only date, with minor exceptions, from later epochs, when
religious fanaticism finally yielded to the voice of reason.

But we find the Hindu traditions and temple symbolism throughout the Far East, and who
knows the surprises that await us in the forests of Indonesia or under its shallows seas,
the burial place of Atlantis. The symbolism of Hindu temples and pyramidal complexes ex-
tends farther out into the Pacific region, all the way to the Americas (Mayan and Aztec
pyramidal complexes and temples). It is, hence, reasonable to ask: where did this univer-
sal tradition first started?

No one will reasonably argue that diffusion took place under the aegis of historical or even
prehistorical Egypt and, even less, of Mesopotamia or of Phoenicia or Israel. Their traditions
and records — which would never fail to mention the important fact — thoroughly exclude
this possibility. We are left with India and Indonesia and a very, very ancient tradition that
can only date from Atlantean times and her worldwide empire. As we commented further
above, the tradition that eventually resulted in the sacred geometry of the Egyptian
temples was probably brought to Egypt by the Gerzeans, who conquered pre-Dynastic
Egypt, some five or six millennia ago. The Atlantean tradition is intimately connected with
the Phoenicians, and the Gerzeans seem to have been proto-Phoenicians. And they apparent-
ly came from Punt, to judge from their symbolism, which we study in detail elsewhere.

To this pristine tradition that forms the base and essence of the ancient religion guessed
by many specialists, belong not only Hinduism and Tantric Buddhism, but also Egyptian
religion, that of Mesopotamia, the one of the Mayas and Aztecs and, why not, that of
the Christians and the Jews. We are all brainwashed into believing, from earliest childhood,
that our own religion is unique, historical and original, whereas those of the Pagans are all
impious, diabolic inventions, which are, furthermore, grossly polytheistic and idolatrous.

But this is only an illusion, for essentially all regions derive from the Urreligion which we just mentioned. "The fear of the Lord that is the beginning of Wisdom". And this fear of the
mysterium tremendum et fascinans is indeed nothing else but the salutary panic fear in-
spired by the subconscious recollection of the cataclysm that wiped paradisial Atlantis
off the map, killing our godlike ancestors by the millions and, indeed, making Man "rarer
than gold of Ophir". It is this killing en masse that is depicted in the pylons of Egyptian
temples, as we mentioned above.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:10:27 pm

The Triple Towers Of Christian Cathedrals

As is the case of Notre Dame, most Christian churches and cathedrals have three towers
(spires). Except that the third, central tower, is usually smallish and stunted, and is often
almost invisible. The three towers are often pyramidal in shape, just as is the case of the
pylons of Egyptian temples or the gopuras of their Dravidian counterparts. The stunted
central tower commemorates Mt. Atlas, the central Pillar of Heaven that exploded and
collapsed, causing the skies to fall down over Atlantis sinking it under the sea. The central,
stunted tower of Christian churches and cathedrals is often placed upon the front door
of the edifice as a sort of pediment. This is done as shown in Fig. 9 above.

The structure of St. Paul's cathedral, shown in Fig. 10 is also typical. The two lateral
spires are pyramidal in shape and are far taller than the central, more massive structure.
Here this structure is domed to represent the Celestial hemisphere that collapsed over
Paradise. At the front we have the huge door or gateway, with its triangular pediment
above. The lowly pediment represents the fact that Mt. Atlas was crushed down by the
weight of the overloaded skies it was unable to support.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:12:43 pm

The Many Pillars Of St. Paul's Cathedral

The many pillars in front of St. Paul's vestibule evoke the ones of Atlantis, the land of
the pillars (a-tala). Indeed, they commemorate Dvaravati, the many pillared capital of
Krishna, that sunk away in the Flood, and whose name means precisely "many-doored"
or, more exactly, "many-pillared".

Likewise, the clocks that often decorate churches and cathedrals are intended to remind
us that time flows inexorably, leading the world to the end of the present era, just as
happened in the former one. And that end is now impending on us, according to the
Gospels and innumerous other traditions that affirm that the end is near.

At the forefront of St. Paul's cathedral we have the monument that stands for the sacred
fountain spring or pool that was the invariable feature of the ancient temples. This fountain commemorates the well-watered barays of Far Eastern Paradises, as we discussed further
above. Hence, the architecture of Christian churches and cathedrals — particularly those
of the Middle Ages — almost invariably follow the sacred geometry of Paradise.

In other words, they replicate, just as did the ancient Egyptian temples, the Triple Mountain
of Paradise with its central peak collapsed and turned into a gateway. This gate is often
decorated by pillars precisely as was the case of the Temple of Solomon or that of Egypt-
ian temples. These pillars — originally represented as palm-tree trunks — commemorated
Atlantis or, rather, Atala, the sunken Hindu Paradise that was turned into a hell by the
cataclysm. They embody a play on the word Tala (or Atala) that means both "pillar" and
"palm-tree" in Dravida and Sanskrit. Such puns do not obtain in any other language we
know of, except insofar as they are derived from the tongues just mentioned.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:15:05 pm

Dendera, Dvaraka, And Other Archetypes Of Atlantis

Hence, we see why Egyptian temples such as the one of Dendera and, indeed, most if not
all others, were full of palm-tree stems figuring the pillars of Atlantis. As we just said, the
many pillars of Christian churches and cathedrals also commemorated the same fact, perhaps unwittingly. The temple of Dendera (and others in Egypt) was built underground, with the
city of Dendera constructed above it. Again, the idea was to represent the realm of Atlantis
sunken underground by the cataclysm that turned this former paradise into a veritable hell,
with a new world built over it, the former one.

The name of Krishna's sunken capital, Dvaraka, mentioned above, means "many doored" or, rather "many pyloned" or "many-pillared". So do its many epithets such as Dhara ("Pillar" or
"Trunk"), Hastina-pura ("City of the Elephants"), Dvaravati ("Many Pillared"), Bhoga ("Standing Serpent"), and so on. The word "pillar", in Sanskrit (tala or atala) also implies the idea of
"standing serpent", "elephant's trunk", "erect phallus".

Ultimately, these ideas refer to the Shiva-linga ("Phallus of Shiva"), the great god and the
emblem of primordial Atala. It also represents Shesha, the Standing Serpent who was the
alias and archetype of Atlas. Indeed, Atlas was a Titan (or Naga, rather), one of the angui-
pedal giants, whose "serpent feet" were a memento of their serpentine origin.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:18:23 pm


All in all, the symbols and the sacred geometry of temples and cathedrals everywhere only
find their full explanation in the languages and archetypes of India and Indonesia. And this
can only mean one thing, when we pause to think the problem over: these replicas of
Atlantis all originated there, in the dawn of times. If this undeniable reality is accepted, we
can only conclude that therein lies the true site of Paradise-Atlantis. Where else?

We would also like to point out the fact that, though the ancients had to follow the rigid
canons pertaining to the sacred geometry of temples and cathedrals, this in no way hamp-
ered their creative freedom. Though always following these stringent canons, the ancient
architects and stonemasons exercised their creativity and came out with the magnificent
temples and cathedrals that we can see, even today, just about everywhere in the world.

Temples, more than anything, attest the unicity of the Primordial Religion, for they all obey
the same Sacred Geometry everywhere and everywhen. The fact that they all imitate Para-
dise and, more exactly, Atlantis, is, in our view, the most compelling evidence that the Lost
Continent indeed existed, just as Plato stated.

It was Atlantis that civilized the whole of the ancient world, in prehistoric times far earlier
than the rise of Egypt, Mesopotamia, Greece, Rome, and the other civilizations we know of.
Atlantis is indeed so old that its existence was utterly forgotten by all but the pious tradi-
ions that come to us from antiquity. The existence of Atlantis-Paradise is indefinitely stated
in our holy rituals and in the sacred symbols of all religions. But we utterly forgot their mean-
ing and purpose long ago. And we only perform our rites apishly, and copy our symbols blindly,
never connecting them to the originals at all, and never realizing that they indeed commemorate Atlantis and its demise, in the dawn of times.

1 Imhotep was a semi-legendary hero and god who was later identified with Asclepios (or
Aesculapius). Imhotep was not only the inventor of the arts of architecture and metallurgy,
but also of the art of writing (cursive?), city-planning, astrology, magic, divination and so
on. Imhotep was, allegedly, the son of Ptah, the god of Punt, the Land of the Gods. And
Punt was no other than Indonesia, as we already said. So, Imhotep was indeed a Hindu
from Indonesia, the name we now give to Punt.

Imhotep-Asclepios was often identified or associated with serpents, an emblem of his Naga
nature, the Nagas being the white Serpent People (or Dragons) of India and Indonesia.
The mysterious figure of Imhotep evokes the no less enigmatic than the one of Hiram Abiff,
the builder of Solomon's Temple. Solomon imported Hiram and his gangs of workers and
artificers from the equally legendary Tyre (the Primordial Phoenicia that is the same as
Ophir or Punt).

Perhaps both Imhotep and Hiram Abiff, the legendary founder of the Free-Masons, were
indeed the personifications of the crews of specialists imported from the Indies in the
primordials of civilization. They are also related to the Oannιs (i.e., Nagas) that civilized
Mesopotamia (Sumer) and taught them all arts. Perhaps even the Goths who build the
Gothic cathedrals belong to the same confrary of Indian experts in guilded crafts such
as stone masonry, smithing metals, and so on.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:21:15 pm

1 Imhotep was a semi-legendary hero and god who was later identified with Asclepios (or Aesculapius). Imhotep was not only the inventor of the arts of architecture and metallurgy, but also of the art of writing (cursive?), city-planning, astrology, magic, divination and so on. Imhotep was, allegedly, the son of Ptah, the god of Punt, the Land of the Gods. And Punt was no other than Indonesia, as we already said. So, Imhotep was indeed a Hindu from Indonesia, the name we now give to Punt.

Imhotep-Asclepios was often identified or associated with serpents, an emblem of his Naga nature, the Nagas being the white Serpent People (or Dragons) of India and Indonesia. The mysterious figure of Imhotep evokes the no less enigmatic than the one of Hiram Abiff, the builder of Solomon's Temple. Solomon imported Hiram and his gangs of workers and artificers from the equally legendary Tyre (the Primordial Phoenicia that is the same as Ophir or Punt).

Perhaps both Imhotep and Hiram Abiff, the legendary founder of the Free-Masons, were indeed the personifications of the crews of specialists imported from the Indies in the primordials of civilization. They are also related to the Oannιs (i.e., Nagas) that civilized Mesopotamia (Sumer) and taught them all arts. Perhaps even the Goths who build the Gothic cathedrals belong to the same confrary of Indian experts in guilded crafts such as stone masonry, smithing metals, and so on.


2 In reality, this sacred ritual is of Hindu origin, as discussed by M. Eliade and by A. Coomaraswamy, and is routinely used in the construction of Hindu temples. The stake is driven into the head of the subterranean Naga (Shesha) that supports the earth from below, and who is the alias of Atlas, the anguipedal Titan. The circle with the crossed diameters is, in reality, an image of the earth, usually thus represented in antiquity.

More esoterically, the Crossed Circle is a symbol of Atlantis, which had precisely this shape, as described by Plato. Atlantis imaged Lanka, indeed placed at the Center of the World, at the intersection of the line of the Equator and that of Meridian Zero. This was the origin of geographical coordinates, which, in Hindu antiquity, lay in Indonesia. The Crossed Circle was also adopted as the symbol of Atlantis, as several Atlantologists of note such as Otto Muck have remarked.

These two lines form the figure of the Cross that is everywhere the symbol of Paradise and its Holy Mountain (Meru, Calvary, Alborj, Kailasa, Qaf, etc.). As we argue elsewhere, the Crossed Circle represents the Holy Mountain seen from above. And this Holy Mountain is itself a "squared circle" representing a conical base (circular) that tapers into a pyramid (square). We find the Holy Mountain thus represented both in the Americas (Navajos, etc.) and in the Far East (Burma). The Holy Mountain is also represented as a Cross, as seen from above, in the famous Hindu Kalachakra Mandalas, a standard representation of Paradise.


3 The Jewish temple was called hekal in Hebrew. The word is said to derive from the Sumerian e-gal through the Akkadian ekallu, meaning "big house". More likely, the Hebrew word and its Sumerian archetype derive from the Dravida e-kal meaning "lofty pillar". The radix e (or he or che) means "lofty", "strait" and implies an idea of "scepter" and "command". The radix kal (or chal) means "stone" and, by extension, a standing stone (menhir, pillar, obelisk, betyl, etc.).

Hence, the Dravidian word can be interpreted as meaning "big house", as in the Sumerian e-galu, a name applied rather to the palace than to the temple. The Dravidian term evokes the Hebrew ones applied to pillars (mazzeba, bethel). These also embody the idea of "erect". More usually, the temples — particularly the Egyptian and the Hindu ones — were characterized by the presence of a lofty pillar (a pyramid, etc.) or even of a pair of such (obelisks, pylons, etc.). Very often, the building itself (adytum) was comparatively small.


Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:22:30 pm

4 The cubic structure evokes the one of the Celestial Jerusalem, likewise cubic or pyramidal (Rev. 21:16). The square shape corresponds to the earth, whereas the circle symbolizes the sky (the horizon). Temples usually represent the "squaring of circle", the impossible union of incongruals represented by Earth and Sky, Fire and Water, King and ****, and so on. In essence all such structures represent Mt. Meru is pyramidal in shape, but is also often represented as a cone. Many temples and pagodas often ingeniously combine the square shape and the round one.


5 Solomon sent Hiram and his men overseas to Ophir in order to fetch him the cedarwood, the sandalwood and the fir (teak?) for the construction of the Temple and of his palace (cf. I Ki. 5-10; II Chr.2, etc.). They departed from the port of Ezion-Geber, in the Red Sea and, hence, could only go southwards, to the Indies, and not north, towards the country now called thus, in commemoration of the primordial Lebanon. The radix leb- (or lev-, etc.) relates to "lion" . Above all, it alludes to Lanka, the legendary Island of the Lions so often equated with Atlantis, Avalon and other such Paradises.

The word "Lebanon" ultimately derives from the Dravida Lev-annon meaning "Ancestral Lanka" or "Ancestral Island of the Lions" in Dravida. Besides, the modern Lebanon never produced fir and, far less, sandalwood (algum or almug = valguka = "sandalwood", in Dravida). The palace of Solomon was also built of cedarwood, and was indeed called "House of the Forest of Lebanon" (I Ki. 7:2). The Song of Songs — so profane in its essence and so clearly copied from Hindu and from Egyptian counterparts — also speaks of this legendary "Lebanon" as of Paradise (S. of S. 3:9; 4:8-16; 5:15; 7:4), etc..


6 Indeed, Ezekiel tells of two Eagles and two Trees of Life (one a cedar, and the other a grapevine, as usual). This mysterious parable is the famous Hindu one concerning the two birds and which dates from Vedic times in India. It figures in the Rig Veda (1:164), in the hymn entitled The Riddle of the Sacrifice. This is the most mysterious of all in the already enigmatic Vedas. We discuss the mysterious parable of the two birds in our book on Alchemy, and will not repeat this subject here.

The passage just mentioned of Isaiah is telling of the return of the children of Israel to their formerly destroyed but recovered Eden, where they will again rebuild the Celestial Jerusalem. Eden is there equated to Tarshish and the Isles (those of Atlantis) and the "ships of Tarshish" are identified to doves, an image often associated to Atlantis (the Pleiades or Atlantides = peleias or "doves", in Greek). Isaiah even tells of the replanting there of the Cedar of Lebanon and of the reconstruction of Jerusalem, "the Zion of the Holy One of Israel" under a new sun and a new moon (that is, in the antipodals).


7 It may well be the case that word "sphinx" — which has no certain etym in Egyptian — indeed derives from the proto-Dravida ech-pinx, meaning "the ghost (i.e., the double or ka) of the dead" or, yet, "the guardian of the dead". The Great Sphinx is mentioned in the famous stele attributed to Honitsen, the daughter and lover of Kheops, as existing in the times of her famous father. Moreover this stele also mentions the Great Pyramid as the tomb of Osiris. There are also other instances in ancient Egyptian records of the existence of the Great Pyramid before the times of Khufu (Kheops). Indeed, both this pharaoh and his whorish daughter are purely legendary, semi-divine characters who often figure in Egyptian tales as well as in those of other nations.

The name of the Sphinx is usually derived from the Greek sphingein, meaning "to strangle". But this may be indeed a corruption of the Greek shesep ankh ("the living image"). This is an epithet often applied to the sphinxes in Egypt. Hence, we see that sphinxes were believed to be the guardians of the dead, just as the Great Sphinx was the guardian of the Great Pyramid, the tomb of Osiris. As her Egyptian name suggests, the Sphinx was the ka (or "double") of Osiris guarding his own tomb against intruders.


Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:23:36 pm

8 Amenti literally means "Occident", that is, "the Land of the Dead". The word also alludes to the region where the sun mythically "dies" every day. But this is only a rather transparent image. The sun or, rather, Ra, the Sun-god, was a personification of the dead Atlantis. The Egyptians were so centered on death and its cult, because they — in contrast to us — still clearly remembered the Atlantean cataclysm. Likewise, Atlantis — the true name of Punt or Amenti or Hades, etc. — also lay towards the southeast of Egypt and of Greece, rather than towards the West and the Atlantic Ocean, as so many authorities formerly thought.

The fact that the Egyptians formally called the southeastern gate by the name of Eastern (or Oriental) Gate is also full of esoteric symbolisms. Lanka and its counterparts (Amenti, Punt, Ophir, Dilmun, Hades, Abzu, Yamakoti, etc.) were indeed located towards the Orient in relation to the Mediterranean Basin. There, the Old World civilizations arose and died. Lanka is old even in regards to India, and it was there that its great epic, the Ramayana, was composed. In fact, Lanka was the site of Paradise, the one we know under the name of Eden. Originally, Lanka and its Holy Mountain (Trikuta, Meru, Atlas, Zion, Alborj, etc.) were equated with the Mountain of the Orient, a term identical in meaning with "Mountain of Origin", the birthplace of Mankind.

When it exploded, razing Atlantis-Eden, the name of the Holy Mountain was naturally changed into that of "Mountain of the Occident" (occidere = "to die"). Rather than to directions — which vary with the position of the observer — such names indeed refer to actual places. So, "Orient" designates the place where the sun is born, and the new day starts by convention. And this was Indonesia, the site of Lanka, the meridian of origin in antiquity. Likewise, "Occident", the place where the sun died daily, referred to the western lands of Eurasia, the Old World. The Egyptians, like the Greeks and other peoples, attempted to transfer the myth to their new place of residence. But this never worked, and only led to riddles and paradoxes that even today torment all sorts of experts, unable to solve the puzzle created by this change of point of reference.


9 As such, these pylons represented the Gate of the Sun, another name of the Mountain of the Orient (or of Sunrise), that is no other than Mt. Meru. Such name indeed derives from Hindu epithets of Mt. Trikuta (or Meru). For instance the name of Ophir — the mysterious region visited by Solomon's men — indeed derives from the Dravida o-piru (or o-phiru) meaning "Gate (o) of the Sun (piru)". Mt. Meru, the Mountain of the Orient, is also called by epithets such as Hemadri ("Golden Mountain"); Karnikachala ("Lotus Mountain"); Devaparvata ("Mountain of God"); Trikuta ("Three Peaked"); Sunyodaya-giri ("Mountain of Sunrise"); Ushas ("Dawn" = the Malaya Range), Aruna-chala ("Mountain of Sunrise"), etc..


10 We treat this fundamental matter in detail elsewhere. Despite its importance, it cannot be treated here for reasons of space, and we recommend that the interested reader seek our works on this subject. The "blooming lotus" is, yet, an allegory of the explosion of Mt. Atlas. The symbolism of the lotus (in both Egypt and India) is treated in other works of ours,which should be consulted by the more sanguine reader. One of our works on the subject is entitled "The Secret of the Golden Lotus", which also figures in our Homepage.


11 The giant wielding the mace and striking down the Primordial Serpent is an unequivocal reference to Atlantis and to the fact that it lay in Indonesia. When one looks at a map of the region, the reason for the allegory becomes evident. The figure represents quite accurately the local geography. The raised arm and the mace correspond to the Malay Peninsula, locally called Kra (or Kara = "Hand", "Arm", in Sanskrit).

The "head" of the giant is the Southeast Asian promontory and the sacrificial victim he strikes and cleaves in two formed by is the islands of Java and Sumatra, cleft apart by the giant explosion of the Krakatoa volcano that opened the Strait of Sunda (the "Door"). Far from being an illusion, this allegory is a sad reality which is obsessively mentioned in the Bible (the raised, irate "arm of Jahveh" smiting the impious) and in other mythologies.


Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:24:49 pm

12 This triple-peaked crown, just as the Triple Mountain, can often assume subtle variant shapes. One such is the three-stepped pyramid that is the characteristic crown of Isis (herself a personification of the Great Mother, Mu or Lemuria). Other variants of the triple crown are the two horns and central disk of Hathor, the two horns and central peak of Reshet, the triple lotus flowers (or papyrus stems) of Hapi, the trident crown of Iabet, the triple-peaked mountain of Ha, the two arrows and shield of Neith, the triple atef crown of Osiris, and so on. In the Christian churches and cathedrals, the Triple Mountain usually assumes the shape of the double lateral spires flanking the central, dwarfed tower. Its stunted size refers to the fact that it exploded and collapsed, as explained further above.


13 The cubit was, theoretically, the distance from the elbow to the tip of the middle finger of an average sized adult. Its value varied, in the ancient world, from about 18 to 21 inches (46 to 53 cm). The cubit is worth about half a yard (36 inches) or half a meter, and it is not impossible that the original measures of the Temple were given in yard or meters with the inner sanctum measuring exactly 10 x 10 x 10 meters or yards. Such a double unit standard of about 1 meter in length seems to have prevailed in the ancient world, and it is likely that the meter unit was accurately known from Atlantean times, as we argue elsewhere.


14 Such emblems of deity are also frequently used in India and Tibet. Indeed, the dollar sign $ — which we obtained from the Phoenicians — represents the twin Pillars of Hercules around which is coiled the Serpent of Eden or its equivalent, the banner or bandolier of the Hero. The ensign (or banner or streamer) expresses the idea of "a visible sign", translated in Sanskrit by names such as linga, ketu, dhvaja, etc.. The linga ( that is, the phallus of Shiva) is the emblem of the Supreme God and, hence, of gods in general. It expresses, as does the word ketu, the idea of Mt. Meru as the phallic mountain at the center of the world. It also symbolizes the fall of the vajra, the thunderbolt that destroyed Paradise (Jambudvipa). The linga was the archetype of the concept of the netjer as a sort of omphalos (or raised stone) and, more exactly, as an avatara of the deity fallen from heaven as a sort of very special meteorite.

Jambu-dvipa ("Island of the Jambu Tree") is the name of the innermost of the seven dvipas ("islands" or "continents") that comprised the Cosmos in Hindu Cosmology. The dvipas were circular and concentric, separated by circular oceanic strips. This Hindu concept of the Cosmos is remarkably similar to Plato's conception of Atlantis, and its sacred geometry was undoubtedly present at the back of the philosopher's mind. The enormous jambu tree planted at the center of Jambu-dvipa was the archetype of the Tree of Life everywhere.

In reality it was the volcanic plume of Mt. Atlas (or Meru) which served both as a lighthouse and as an ensign and a warning to all nations that grow impious and arrogant as Atlantis did. We see, from the above comments, how the idea of representing the idea of "godhead" by a banner or ensign undoubtedly passed from India (where it makes sense) into Egypt (where it does not, at least to Egyptologists).


15 The Strait of Sunda separates the island of Java from that of Sumatra. It was opened by a gigantic prehistoric explosion of the Krakatoa volcano that lies at the bottom of the strait. Such is the fact allegorized by the myths of Hercules cleaving open the isthmus and opening a maritime passage ("door") to the outer ocean. Obviously, such a thing did not happen in Gibraltar, at least in the times of Man, in contrast with what indeed took place in Indonesia.

This event, which is central to the understanding of the true story of Atlantis is allegorized in a multitude of myths from everywhere, as we explain in more detail elsewhere. It is interesting to note that the portrait of pharaoh posted at the entrance of Egyptian temples — shown in Fig. 2, for instance — as if smiting open the door of the temple closely recalls the myth of Hercules opening up the Strait of Gibraltar with the blows of his mace, as told in certain Greek myths of the great hero, as we commented further above.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:25:57 pm

16 Atlantis derives its name from that of Atala, the Primordial Phoenicia (or "Land of the Palm Trees") of the Hindus. Atala literally means "the Land of the Pillars" or "the Land of the Palms", the term tala, in Sanskrit, meaning both a pillar or a palm-tree. Small wonder then that the Egyptians, willing to represent Paradise, built their hypostyle temples with "palm-tree pillars". Once again, the visual pun that does not make any sense in Egypt can be traced back to India. More exactly, it can be traced back to Atlantis and the Dravidas, for the wordplays with its name indeed derives from that primordial language, ancestral of that of the ancient Egyptians.

The "pillars" in question allude to both Atlas and Hercules, the two "Pillars of Heaven". However, in the ancient myths the heroes and saints were said to become pillars in Paradise, that is, in Atlantis. It is thus that Cu Chullain and his braves turn into pillars in their final battle. Even in Judaism and Christianism, the worthy are promised to become pillars in Paradise Restored (the New Jerusalem). This fact can be seen, f. i., in Rev. 3:12; Gal. 2:9; 5; 3:6; I Thim. 3:15, etc..


17 This type of agriculture is characteristic of mountainous regions and, particularly of the Far East. The terraces are required not only to control the water flow, but also to prevent erosion and to preserve the fertility of the soil. The rain waters are collected at the summit of the mountains and stored in dams called barays in Southeast Asia and Indonesia. This word derives from the Dravida para-tt-is meaning a dam or cistern (para) built upon a mountain or volcanic peak in order to provide water (is) for agricultural purposes and, particularly, for the cultivation of rice in terraced mountains.

It is from this Dravidian base that the word "Paradise" (Sanskrit: Paradesha; Greek: Paradeisos; Latin: Paradisus; Hebrew: Pardes; Zend: Pairidaesa, etc.) ultimately derives. Even today it is possible to observe the terraced mountains used for cultivation in India, in Indonesia, in Southeast Asia and, indeed, in the whole of the Far East. The marvelous Hanging Gardens of Babylon, one of the Seven Wonders of the Ancient World, were indeed a local recreation of Paradise and its terraced orchards by Queen Semiramis.


18 Adi Buddha is closely connected with the Tantric form of Buddhism called Kalachakra (or "Wheel of Time") which arose in Bengal and spread to Tibet, Java, Nepal and Mongolia. This form of Buddhism is also called Vajrayana ("the Way of the Vajra (or Thunderbolt)"). It is said to have originated in Shambhalla, the mysterious underground realm of the King of the World (Subterranean Atlantis?). Moreover, its doctrines are apocalyptic and center on the return of the Saviour as Kalkin, the White Knight who is the 10th. avatar of Vishnu.

This Primordial Buddha was not accepted by the Southern Buddhists (of Shri Lanka) nor by those of China and Japan. But he became dominant in Tibet, Mongolia and Nepal, and is connected with Tantric doctrines such as those concerning Svayambhu ("Self-born") and Anupapadaka ("He who had no parents"). Adi Buddha was born in the Terrestrial Paradise (Atlantis?) called Bhumi ("Terrestrial") or Agnishtha Bhuvana ("the Burnt Land"). The idea of a land destroyed by fire pervades Tantric Hinduism and Buddhism. It closely evokes Atlantis, another Paradise allegedly destroyed by fire in a volcanic conflagration very much like the one connected with Adi Buddha.

Is it believable that such a sublime religion be founded on a fiction or on a lie rather than on real fact? Moreover, it is a fact that the world was subjected to a global cataclysm of cosmic proportions precisely at the date preconized by Plato and other authorities. That cataclysm was the drastic end of the Pleistocene Ice Age, when a myriad of species such as the mammoth, the mastodon, the saber-toothed tiger, the cave bear, the mountain lion and many such became utterly extinct the world over. So, we have both the tradition and the actual fact behind it. Why insist on rejecting their connection?


Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:27:21 pm

19 We discuss this profound Cosmogonic myth of the Hindus in detail elsewhere. It is an allegory of the destruction of Paradise as a consequence of the war of the devas and the asuras. This Paradise and this war is no other than Atlantis and its war, narrated by Plato. The interested reader can follow the subtler meanders of this myth, which has baffled experts so far, in the work just mentioned. These two races correspond to the Gods and the Titans of Greek mythology. Their war is the one Plato equates with that of the Atlanteans and the "Greeks". As with Atlantis, the war of the Hindus also ended in a cataclysm of Cosmic proportions.

So, as we see, once more, the myth of Atlantis did not originate in Greece or even in Egypt, but in the Hindu myths and religious imagery. These are told in detail in epic traditions such as those of the Ramayana and the Mahabharata, the greatest sagas ever written. More than charming initiatic novels, these sagas of the Hindus, and so their many traditions, are indeed Sacred History, concerning real persons and real events that took place in the dawn of times, when Mankind still lived in the Garden of Eden, the true site of Atlantis.


20 The word "pylon" has, in English, a somewhat confusing etymology. Webster gives: 1) a gateway; 2) a truncated pyramid or two of these serving as a gateway to an Egyptian temple; 3) any slender, towering structure flanking an entranceway. In Greek, pylos means "door", "gateway"; whereas pylon means "threshold", "vestibule". It seems that the second etym evolved somewhat mistakenly, from an association with the idea of pillar (Latin pila), itself confused with pyloros ("gatekeeper" and, hence, "jamb" or "pylon"). We use the word in the Greek sense of "gateway", and call the two huge pyramidal jambs characteristic of Egyptian temples by the name of "pillars".


21 Jachin and Boaz mean, respectively, "Erected by Jahveh" and "Strong". The etym of "Strong" recalls the usual name of Herakles as Bias ("the Strong One"), as well as that of his Indian archetype, Bala (or Balarama = "the Strong One" or "the Strong Dark One"). Other authorities interpret the name of Jachin as meaning "Foundation", a word that seems to be an esoteric reference to Sutala (or Atala), the destroyed Paradise of the Hindus. Atala is truly the archetype of Atlantis and its name means "Foundation" (Sutala) or "Foundered" (Atala) in Sanskrit.

It seems that the name of Jachin ("Erected by Jah") is indeed an euphemism to disguise the fact that Jahveh destroyed the pillar that corresponded to Atlas, sparing the other one that withstood his punishment (the Flood). Sanchuniation — the famous Phoenician priest who disclosed the meaning of the inscriptions on the pillars of the temple of Baal (Hercules) — spoke of two mysterious personages, Misor and Sydyk (Mishor and Sedek), whose names also mean "Upright" (or "Strong") and "Just" (or "Straight"). These two apparently correspond to Jachin and Boaz and, more exactly, to Atlas and Hercules-Gadeiros, the two pillars of Atlantis.


22 The names Gada and Agada mean, respectively, "Cattle-rich" and "Cattle-poor". Gada corresponds to Gadeiros (meaning the same), the twin brother of Atlas, according to Plato. Hence, Gada and Agada are indeed the Vedic archetypes of Atlas and Hercules, the twins who co-ruled Atlantis according to the Greek philosopher. In Egyptian terms, the eternally disputing twins are represented by Seth and Osiris or, yet, by Horus and Seth. The real Lemuria or, rather, Lemurian Atlantis, should not be confused with the vaunted one of Theosophists. It lies in the Indian Ocean, and corresponds to the Australasian continent sunken at the end of the Pleistocene Ice Age.

Title: Re: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos
Post by: Bianca on February 20, 2008, 08:29:32 pm

23 The ancient authorities, like their modern counterparts, could never agree on the actual location of the Pillars of Hercules and, hence, of Atlantis itself. The ancient sitings ranged from Gibraltar to the Bosphorus (Black Sea), to the Schott-el-Djerid, the Bab-el-Mandeb and even the Palk Strait between India and Shri-Lanka. In reality the Strait of Hercules in question is the one of Sunda, opened up by the gigantic prehistoric explosion of the Krakatoa volcano now lying at the bottom of the strait. In this case, the Pillars of Hercules are the two majestic volcanic peaks that flank the Strait of Sunda, the Karang (1,778 meters) and the Kalianda (1,281 meters).


24 The Hindus speak of two Mts. Merus. One is the Sumeru (or Kailasa) in the north, and the other is the Kumeru ("Southern Meru") in the infernal regions of the extreme south. These two are often placed at the two Poles, but this is sheer exoterism. Alternatively, the Kailasa is placed in the Himalayas (really, the Hindu Kush) and the Sumeru in Indonesia (Lanka). The two Merus are held to be pyramidal in shape, being the archetypes of the pyramids of Giza. These are three in number, representing the three peaks of Trikuta. But, of course, the central peak of Trikuta — the one which corresponded to Mt. Atlas, the (central) Pillar of Heaven — exploded, leaving only the two Merus and the "Door" (the Strait of Sunda) behind.


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