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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 4920 times)
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« Reply #15 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.
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« Reply #16 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
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« Reply #17 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.
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« Reply #18 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).
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« Reply #19 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.
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« Reply #20 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).
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« Reply #21 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.
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« Reply #22 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.
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« Reply #23 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.

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« Reply #24 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
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« Reply #25 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.
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« Reply #26 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.
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« Reply #27 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.
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« Reply #28 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.
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« Reply #29 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.
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