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

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« Reply #45 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).
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« Reply #46 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.
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« Reply #47 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.
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« Reply #48 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.
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« Reply #49 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.
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« Reply #50 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.
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« Reply #51 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
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« Reply #52 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
intended.

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!
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« Reply #53 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.
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« Reply #54 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.
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« Reply #55 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.
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« Reply #56 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.
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« Reply #57 on: February 20, 2008, 08:18:23 pm »









Conclusion





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.
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« Reply #58 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.

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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.

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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.

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« Reply #59 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.

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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..

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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).

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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.

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