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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 4820 times)
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« Reply #30 on: February 20, 2008, 08:12:46 am »

The Riddle Of Cedar Wood

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

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

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

Since Solomon's and Hiram's ships departed from Ezion Geber, in the Red Sea, in order to get
to Ophir, it suffices to look at a map of the region in order to verify that the cedar they im-
ported came not from Lebanon itself, but from somewhere beyond the Indian Ocean. And this somewhere can be no other than the Indies, where the so-called "cedar of Lebanon" grows in abundance, in the Himalayas and its eastern extensions.5
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« Reply #31 on: February 20, 2008, 08:17:05 am »

The Parable Of The Eagle And The Tree Of Life

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

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

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

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

Even the Medieval cathedrals had, just as did the temples of Isis everywhere, such magical
sources springing inside their underground crypts and filling their baptismal fonts. As a matter
of fact, the early Christian cathedrals were almost always built upon the ruins of the temples
of Isis which abounded everywhere in Pagan Europe. Such was the case, in particular, of the cathedrals of Rheims, of Chartres, and of Notre Dame, among many. Even in the Americas we
find precisely the same conception of barays placed on top the Holy Mountain of Paradise. For instance, the famous Incan pyramid of Akapana (Peru-Bolivia border) had a huge cistern (water reservoir) at the top. This reservoir fed a sophisticate network of hydraulic facilities used in
irrigation and internal plumbing of the other buildings, in a way that closely parallels the similar
devices of the Egyptian temples which we mentioned above and elsewhere.
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« Reply #32 on: February 20, 2008, 08:18:40 am »

The Ark of Osiris guarded
by Isis and Nephthys

The Twin Cherubs And The Twin Goddesses

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

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

The two cherubs may well be the two kas (doubles or souls) of the twin gods (Osiris and Seth,
etc.). These, in turn, are identified to the twin obelisks of the Egyptian temples and their twin
pillars or pylons which represent the twin Holy Mountains of Paradise. This identification is also
suggested by the text of Revelation, which speaks of two Jerusalems (Celestial and Terrestrial),
two Temples (idem) and two gods (Christ and Jahveh) "who are their temples themselves", as
well as their twin Trees of Life and the twin sources of the Elixir (Rev. 21:22).
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« Reply #33 on: February 20, 2008, 08:27:06 am »

The Architecture Of The Egyptian Temple

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

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

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

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

FIGURE  3 (b)
the Temple at Medinet Habu

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

Next we have the second pylon with its two guardians. This pylon leads into the inner court
which has, at the rear, the vestibule of the great hypostyle hall. This, in turn, leads into the
Inner Sanctum and exits to the great northwestern (formerly western) Gate. The sacred pool
was, as we said further above, the invariable feature of Egyptian temples. It was also the
counterpart of the Sea of Bronze of Solomon's temple, and the ghats of Hindu temples. In all
probability they were used, as in India and elsewhere, in purificatory ritual ablutions akin to
Baptism. Such sacred pools — called ghats in India — are attested from remotest antiquity in Harappa and Mohenjo-Daro, the sites of the mysterious Indus Valley Civilization, one of the oldest known to archeologists.
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« Reply #34 on: February 20, 2008, 08:38:10 am »

Atlantis As The Land Of The Dead

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

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

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

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

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

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

The Egyptian temples were verbatim copies of Hindu temples, themselves replicas of the
Atlantean Paradise. This model city — also the archetype of the Celestial Jerusalem — is
Lanka, the capital of Ravana's worldwide empire (Atlantis). This City (Pure Land) is illustrat-
ed in the so-called Kalachakra mandalas, and its triple wall (trimekhala, in Sanskrit) is its
most characteristic feature. By the way, the Celestial Jerusalem is also traditionally equipp-
ed with a triple wall, like Atlantis.
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« Reply #35 on: February 20, 2008, 08:40:31 am »

The Meaning Of The Temple's Pylons

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

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

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

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

The illustrious authors go on to say further:

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

In the unusual temples dedicated to Aten... the pylons consist of pairs of separate towers
without any bridging masonry between them. It is likely that the pylon represented the two
mountains of the horizon (akhet) between which the sun rose, thus contributing to the temple's
role as a symbol of the cosmos and the act of creation. The towers were, each, identified
with the goddesses Isis and Nephthys.
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« Reply #36 on: February 20, 2008, 08:43:59 am »

Gerzen Vase
c. 3500BC

The Gerzean Connection

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

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

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

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

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

The palm trees are again connected with Atlantis. They represent the Primordial Phoenicia,
a name signifying "Land of the Palm Trees" in Greek. This name is a translation of the Hindu
name of Atala, which means the same thing in Sanskrit. The streamers and standards again
identify Punt with Atlantis and, more exactly, with the Indonesian sunken continent. They
are the glyph of Punt, as well as the symbol of the Pillars of Hercules in Phoenician traditions.
In reality, the streamers visually translate the ancient local name of the Malay Peninsula,
Setubandha (called Punt in Dravida), which means "Connecting Band" or "Connecting Bridge"
in Sanskrit.
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« Reply #37 on: February 20, 2008, 06:51:15 pm »

The Pylons Represent The Pillars Of Hercules

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

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

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

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

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

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

As shown in the pylon of Medinet Habu (Fig.3(a)) and, more clearly, in Fig.5, below,
the striking god often wears the triple crown that symbolizes Trikuta, the triple-peaked
mountain. This triple-peaked mountain, often with the central summit represented ex-
plicitly or, conversely, symbolized by a stunted, sunken down portion is also represented
in the triple spires of Christian cathedrals and churches. The "sun" that shines at the
center of the Holy Mountain of the Egyptians is an explicit representation of the colossal
explosion of its volcano. In Christian symbolism, this "sun" is often figured by a rose-
window, a symbolism taken directly from Hindu and Egyptian archetypes. The rose-
windows represent the Golden Lotus, itself an allegory of the colossal "mushroom" gene-
rated by the giant explosion of Mt. Atlas. 12
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« Reply #38 on: February 20, 2008, 06:55:09 pm »

The Temple Of Herod, The Great

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

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

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

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

The vestibule of the inner sanctum was also a cube of about 10 x 10 x 10 meters (20 cubit
on a side). The altar was 20 cubits on the sides and 10 cubits tall, that is, a half cube of
about 10 meters on a side. Ten was indeed the sacred number of Jahveh (the Ten Command-
ments, etc.), just as Seven (the Seven Days of Creation, etc.) was the one of Elohim.
Hence, it is not unreasonable to suppose that there was a connection between Jahveh and
his Temple with Atlantis and its ten realms.
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« Reply #39 on: February 20, 2008, 07:02:31 pm »

The Twin Flags Of Egyptian Temples

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

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

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

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

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

This gate, accessible only to the initiates, represents the actual reality that the two pairs
are indeed only one. The message is clear. One has first to cross the virtual gate of Gibraltar
in order to reach the second gate or pylon that accesses the real Paradise, here figured by
the multitude of pillars of the hypostile chamber that represents Atlantis.16
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« Reply #40 on: February 20, 2008, 07:16:10 pm »

The Saints And The Gods Of Atlantis

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

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

These two Guardians correspond to what the Hindus call Lokapalas or Dvarapalas. They
often change into lions, karibus, sphinxes, standing serpents (nagas), dragons or similar
monsters. In reality they correspond to Atlas and Hercules, the twins (or "pillars") that
guard the straits that serves as the Gates of Paradise. The inner court is elevated, and is
accessed by means of stairs, as can be seen in the reconstruction of Fig.2. The stairs
represent the ascent to Heaven (or Paradise) placed, as it is, upon the Holy Mountain
(Mt. Meru) that is everywhere represented by stepped pyramids.
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« Reply #41 on: February 20, 2008, 07:19:14 pm »

The Stepped Pyramids And The Babylonian Ziggurats

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

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

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

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

They all serve the same ritual purpose and they all commemorate the same event: the
death of Atlantis-Paradise represented by its deity and the hope (or certainty) that it
will resurge back to life with its god and all its saints in the day of the Resurrection of
the Dead. Such is the tenet of Christianism, of Judaism, of Hinduism and, in all probability,
of all religions, including that of ancient Egypt. For, religion is hardly anything else than
the hope of the return of Paradise. And this is proven by the fact that we daily pray to
God to "let Thy Kingdom come". So do the Hindus with their "Om, Mani Padme Hum!". And
so also the other nations, each in their own peculiar way, daily beg for the immediate
coming of the New Era, when Atlantis-Eden and its many dead will resurge from the waters
where it lies buried.
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« Reply #42 on: February 20, 2008, 07:22:18 pm »

The Pyramids Of Egypt As Mortuary Temples And Cenotaphs

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

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

The coffins and sarcophagi found inside the Egyptian pyramids were either due to intrus-
ive burials or utterly empty, as many specialists have concluded. This fact proves beyond
reasonable doubt that the pyramids of Egypt were, like the temples, the symbolic sepul-
chers of the dead god. This is the reason why they were utterly empty, at least in a phy-
sical sense. It is in the same sense that the throne of Buddha is traditionally represented
as empty. So is its counterpart, the Ark of Covenant, the throne (or footrest) of Jahveh.
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« Reply #43 on: February 20, 2008, 07:27:38 pm »

The Far Eastern Origins Of Egypt

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

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

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

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

Besides, the cataclysm that sank Atlantis under the South China Sea probably carried
under all or most of the magnificent structures that we are allowed to expect from such
a superior civilization of semi-divine ancestors. Who knows what wonders and treasures
await the undaunted explorer who dares to search where no man has yet looked so far?
People have systematically been searching in the wrong places for Atlantis, which is in-
deed the true site of Eden and of the Eldorado, and other such Golden Paradises. Small
wonder then that their results so far have been essentially nil.
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« Reply #44 on: February 20, 2008, 07:32:16 pm »

The Pyramids Of Borobudur

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

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

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

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

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