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

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Author Topic: The Atlantean Symbolism Of The Egyptian Temple-Prof.Arysio Santos  (Read 3934 times)
Bianca
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« Reply #60 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.

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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.

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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).

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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.
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