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The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos

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« 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






                                                  Introduction




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.
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« Reply #1 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
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« Reply #2 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.
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« Reply #3 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
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« Reply #4 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
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« Reply #5 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
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« Reply #6 on: February 19, 2008, 10:37:37 pm »



FIGURE 2
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.
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« Reply #7 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
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« Reply #8 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.
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« Reply #9 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
places.

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
Romans?

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.
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« Reply #10 on: February 19, 2008, 10:52:02 pm »



FIGURE 3
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.
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« Reply #11 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.
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« Reply #12 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
"skewer").5

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.
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« Reply #13 on: February 19, 2008, 11:03:45 pm »



FIGURE 4
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.
« Last Edit: February 20, 2008, 07:26:42 am by Bianca » Report Spam   Logged

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« Reply #14 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.
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