In the ceiling of the Osiris chamber the architects installed a cosmic story about the deflowering of motherhood. The story was told as a prophecy, and an example teleology; the belief that design and purpose are apparent in nature. It is derived from the Egyptian record of the experiences of life, and their recorded knowledge of the most ancient traditions of the whole world. It is the quintessential document which relates to the conversation between the Egyptian priest and Solon in Plato's dialogue by Critias. For the monument reads like a history book, in which the clock of the heavens defines the space-time frame, and the rhythm of Plato's Dance of the Gods. Besides a history of the ancient world, the monument tells a story about the maturation cycle of human souls in the whole of Western Civilization for an additional 8600 years to come. The solar eclipse of August 1999 demonstrates that the great accuracy of the celestial knowledge of the temple architects included dramatic teleological aspects. Within the presentation of their material science, the spiritual message of the Egyptian priests and priestesses is clearly visible. It is a story about love and reason, arrogance and wisdom, banishment and salvation. Most of all, it is a story about a man child (Horus) and his mother (Hathor), and the dialog of mankind with the Creator.
This is the Greatest Story Ever Told. It has been told around the world. In Polynesian traditions it is the legend of the Land Under the Land, where a disenchanted wife meets a stranger and goes to the Land of Shadows to have her husband's child before returning to the top of the world with peace in her heart, and a Red Pandanus in her hand. In Mesoamerica it is the legend of Hanahpu and his brother Xbalanque. In Mesopotamia it is the legend of Gilgamesh and Enkidu, among many others. In India it is the dance of Shiva. In China and east Asia, it is the dance of the Sun Dragon. The Bible tells the same story with many different players, including Adam and Eve, Isaac and Ishmael, Aaron and Moses, John and Jesus, and the Child of the Madonna. On August 11, 1999, the sun winked as it entered into the Kingdom of Heaven. To let this incredibly important moment pass without recognition of its historical value would be a sacrilege against all that has been sacred since the beginning of the dialogue between man and Creator. For, to be silent is repression. Thus, this story is being told in the hopes that a modern world is not so cosmically deaf that it has lost all value in its ancient sacred meaning.
COMMON SENSE IS INTUITIVE
The reason why so many of the world's sacred myths have a familiar ring to them is the fact that they were all taken from the same patterns in the stars. To say that the stars contain Plato's Lost Island of Atlantis would not be an exaggeration, for the stars contain all the lost legends of our past. The legends are all testaments to the observational brilliance that accumulated at the predawn and early dawn of civilization. They are the foundations of our modern Jungian archetypes. Within these great legends is an unmistakable common belief in the benevolence of Mother Nature. It is the trust and faith that humans gave to Mother Nature that caused her to be deflowered as Western Civilization became a domain of the rule of law. Civilization is not to blame for her being deflowered. It is a process which humanity must pass through. Mother Nature deflowered herself so that the man child could grow to full maturity. The stranger she had come to know was the rationalizing husband and the immature son that she loved so dearly. They had forgotten her value as the vessel of life. In her own words, as spoken through her son, we find the echo of all the great legends.
1 Let not your heart be troubled: ye believe in God, believe also in me.
2 In my Father's house are many mansions: if it were not so, I would have told you.
I go to prepare a place for you.
3 And if I go and prepare a place for you, I will come again, and receive you unto myself;
that where I am, there ye may be also.
Hidden behind the logic of this microscopic maturation cycle of a single human soul is the macroscopic maturation cycle of civilizations. Like individuals, civilizations strive to break the umbilical bondage. And like individuals, health is restored when a civilization recognizes that Mother Nature knows only Tough Love. She gives us a scepter of flint as proof that we are capable of self inspiration when we walk in the pits of our emotions. She gives us a flail as proof that we can overcome physical stress. She gives us a crook as proof that we can lead others to the Promised Land. And last, she gives us a door through which we can pass a material record of our lives on to her children who come after us. In Egypt the door was Rostau, where Osiris ascended to Orion, and the Great Pyramids promised his return. It is through that door that the present essay will lead. The metaphor of the way of the door has been fabricated many times and in many ways. The ceiling monument in the chapel to Osiris is a detail of Mother Nature's passages through the cosmic door into the mystery of the heavens.|Read More Here: http://www.siloam.net/cornwall/cornwal4.htm
S. Battaglia, G. Miglietta and Opera Laboratori Fiorentini
Full scale reproduction of the Zodiac from the Temple of Hathor in Denderah, the first depiction of the heavens in which use is made of stereographic projection. The outermost circle shows 36 decans, each scanning a 10-day interval; the first decan is level with Sirius, the star that heralds the beginning of the year and the arrival of the Nile flood. The second circle shows the constellations in the southern hemisphere. The third circle shows the constellations in the northern hemisphere. The figures of the Zodiac are aligned along the eccentric circle of the ecliptic. The axis joining Cancer to Capricorn (the solstices) points in a north-south direction. The temple's transverse axis is perfectly oriented towards the heliacal rising of Sirius, which rose at 18o east-southeast. Sirius, portrayed as a squatting cow, is correctly shown at the point of maximum culmination on the celestial meridian of the southern hemisphere.Found Here: http://brunelleschi.imss.fi.it/galileopalazzostrozzi/object/DenderahZodiac.html
During the Napoleonic campaign in Egypt, Vivant Denon drew the circular zodiac, the more widely known one, and the rectangular zodiacs. In 1802, after the Napoleonic expedition, Denon published engravings of the temple ceiling in his Voyage dans la Basse et la Haute Egypte. These elicited a controversy as to the age of the zodiac representation, ranging from tens of thousands to a thousand years to a few hundred, and whether the zodiac was a planisphere or an astrological chart. Louis Charles Antoine Desaix, a member of the expedition, decided to remove the relief to France and so, in 1820, the antiquities dealer Sébastien-Louis Saulnier commissioned Jean Baptiste Leloraine, a master mason, to remove the circular zodiac with saws, jacks, and scissors constructed for the job. The zodiac ceiling was moved in 1821 to Restoration Paris and, by 1822, was installed by Louis XVIII in the Royal Library. In 1964, the zodiac moved from the Bibliothèque Nationale to the Louvre.
The controversy around the zodiac, called the "Dendera Affair", involved people of the likes of Joseph Fourier (who estimated that the age was 2500 BC), Thomas Young, Jean-François Champollion, and Jean-Baptiste Biot. Johann Karl Burckhardt and Jean-Baptiste Coraboeuf held, after analysis of the zodiac, that the ancient Egyptians understood the precession of the equinoxes. Champollion, among others, believed that it was a religious zodiac. Champollion deciphered the names of Tiberius, Claudius, Nero and Domitian on the ceiling of Dendera's temple, and placed the zodiac in the era of Roman rule over Egypt. Baron Georges Cuvier placed the date 123 AD to 147 AD. His discussion of the dating question is an interesting summary of the reasoning as he understood it in the 1820s.
Over the last 10 years, I have been presented with a star-code science called cosmogenesis. From 2000 July 17th to 2007 July 17th a pattern of psycho-physical reference points to astronomical events were presented over and over again to engage and synchronize my attention to the placement the Egyptian’s called Heaven’s Gate: The Cancer-Leo Boundary. The code cosmogenesis uses to construct meaning is based on an epistemology designed by the Egyptian Cosmologists. For the sky-priests who closed the Egyptian Empire’s Old World Order, they designed an ingenious calendar wheel at the Temple to Hathor was called the Denderah Zodiac. I made it my concern to follow the on-line study of this remarkable cosmology with the help of Rush E. Allen an engineer and astro-archaeologist whose mentorship provided me the firing-pins for walking the path of the True Priest.
To present the revelation of the Little Lion, we will walk through the basics of Egyptian Cosmology. The modus operandi for their vision of reality is not unlike that of the modern sages like Einstein, Podolsky and Rosen who argued that a quantum state corresponds not to reality but to the information we have about a subsystem of the universe. The quantum state for The Egyptian sky-priests who authored the science accepted two fundamental bodies of knowledge. One was called the Horus of the Two Horizons and the other was Coming Forth By Day, or the study of the First Fire Ceremony. Between these two pillars of science did the Egyptian cosmologists attempt to construct based on information gathering how the planets, milky way and stars were set to the house of creation that made room for one very unique ally in creation: man and his perception of self within a living system. The D.Z. concretized all these aspects with one important axiom. To acquire the experience of Truth one must suffer the burden of cosmic responsibility once he has put his ‘feelings straight’.
A scientific paper was presented during the time of Seti I to define the ability to understand the science of predicting outcome. The Hunefer Papyrus was the Occam’s Razor of the 17th Dynasty.
1. The eight Horus figures holding the circle of the heavens define a pair of crossed axes by the lines defined by knees and elbows. 2. A hexagram may be drawn in by joining the points where the Isis figures hands meet on the circumference of the circle. 3. A pair of horizontal lines are drawn as shown by connecting the "shoulders" of the Horus figures, then point where their headresses terminate. These lines occur at the correct location to each form one side of the regular pentagram which can be inscribed in the circle. Thus two pentagrams are formed; one upright and one inverted. 4. With the remaining lines of the pentagrams drawn in, confirming proof that these constructions represent the intent of the designers is provided by the placement of the straight lines which connect the two fishes of Pisces. Note how one of these two lines not only forms a small section of the side of the pentagram itself, but occurs at the point where this line is intersected by the horizontal diameter of the circle.
Related Pages:Original Article Found Here: http://www.russwill.com/experiments/astro/Denderah/hidden_geo/geo_zodiac.htm