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Ed Ziomek
Joined: 07 Jun 2005
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Location: Stamford, Connecticut
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 Posted: Fri Oct 12, 2007 8:08 am Post subject: Remarkable Similarities of Naming Conventions: Viracocha |
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On the top of the "Gateway to the Sun" at Tiwanaku is the figure labeled allegedly "Viracocha".
Since I believe there is a wealth of information connecting these ancient "pre-Incan, Peruvian" architectural structures, ceramic pottery, and theologies with the ancient Myceneaen, Hurrian, even Persian cultures, I researched what naming conventions could also be the same.
Examples, Old World and New World:
Vira-cocha, pre-Incan Tiwanaku, Creator Diety
Vourus-kaskha, Zoroasterian, "World Ocean"
Hvare-Khshaeta, Chaldean, Sun God
Wuru(n)-katte, proto-Hattic, God of War
Chakra-Vyuha, Indian, meditational Yantra chant
Viracocha: Creator of Civilization (Wikipedia)
"In Inca mythology, Apu Qun Tiqsi Wiraqutra, commonly known today as Con-Tici Viracocha or simply Viracocha, was the creator of civilization, and one of the most important deities in the Inca canon."
Viracocha: Creator Diety (Britannica)
http://www.britannica.com/eb/article-9075459/Viracocha
"...also spelled Huiracocha or Wiraqoca creator deity originally worshiped by the pre-Inca inhabitants of Peru and later assimilated into the Inca pantheon. He was believed to have created the sun and moon on Lake Titicaca. According to tradition, after forming the rest of the heavens and the earth, Viracocha wandered through the world teaching men the arts of civilization."
Vouruskaskha: Zorasterian
"The world ocean in Zoroastrian cosmology; it is also the sea deity. Also, the heavenly lake whose waters supply the world and in the middle of which grows the Tree of Life."
http://www.mythome.org/mideastg.html#Hittite
Hvare-Khshaeta: Chaldean sun god.
Wuru(n)katte: Proto-Hattic, God of war, meaning 'King of the Region'.
"Kasku" A Gnostic Archon; called 'serpent-faced'
The proto-Hattic name of the moon-god. He was accepted into the Hittite pantheon and corresponds to the Hurrian Kusuh.
Note: Kasku can plausibly compare with "Cuzco", Peru, and possibly "Texcaca" in Mexico.
Chakra-Vyuha, or Vyuha Chakra?
http://www.earsay.com/labyrinthmusic/phil/jewitt/Labyrinth-Jewitt.htm
In the British Isles the latter are known as Troy Stones, linked with the ancient Wisewoman tradition. In parallel, since midwifery was a part of that, is a labyrinth form of meditational Yantra called Chakra-Vyuha, used in Indian women’s magic to focus the mother’s attention during childbirth....
Next: Tiamat, Thallasus, Tlaloc, possibly antecedent-related to Lillith, Athena, Venus, and plausibly.... A-t-las!
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Ed Ziomek
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Ed Ziomek
Joined: 07 Jun 2005
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Location: Stamford, Connecticut
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| Posted: Thu Nov 01, 2007 9:23 pm Post subject: Omoroka, America The Great Serpent....? |
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Interesting research results.... I have read somewhere that the ancient Cretan/Mycenaean culture contained two primary God figures at creation...
1. Primordial Ocean (Mother Ocean, so to speak)
2. Sea Serpent-reptile from which the world was created.
The Tiwanaku culture is somewhat similar, with Viracocha and Tlaloc. It seems like the ancient "Incan" and "Aztecan" cultures developed more deities based on this central theme, to include the various Trinities of:
1. Serpent, Sun Disk, Eagle
2. Serpent, Puma/Lion, Condor
3. Quetzal Bird, Eagle, Condor
4. Earth serpent, Sun/Moon, Sky serpent
Among the demons and sea serpents of this ancient history are some interesting names:
Lamashtu, Tiamat, Ishtar, Thalassa, Medusa, Tlaloc, and ...Omorka
Lamashtu
Akkadian demoness, daughter of Anu and equivalent to Sumerian Dimme. Lamashtu is an evil demon who preys upon people especially unborn and newborn children. Her list of evil deeds is lengthy: she caused miscarriages, killed children, poisoned water with disease, killed plants, brought nightmares, and caused tetanus.
She had seven names, and was called the seven witches in incantations.
Tiamat: The Serene Dragon of Babylon: (author question: is this also Thalassa/Tlaloc?)
http://www.theserenedragon.net/Tales/babylon-tiamat.html
"In the beginning, there was nothing but two elements - Apsu, the male spirit of the fresh water and the abyss, and Tiamat, the female dragon spirit of salt water and chaos."
Tiamat, Thalassa
http://www.jpc-artworks.com/gallery/mermaid/tiamat.html
"Tiamat, the primordial sea-serpent of ancient Babylon, is only one of the multitudes of sea goddesses and mermaids that are found in folklore and mythology around the world. The ocean mother is also known as Mari or Mare, Meri, Mere-Ama, Amphritite, Mama Cocha, Thalassa, Sedna, Toyota-Mahime, White Shell Woman, Yemaya, Iamanja, and Stella Maris, Star of the Sea."
From research...."Bridging the Americas Reuniting the Eagle and the Condor"
Amaruca - America, "Land of the Serpent"
Peruvian prophecy states that all the Americas were once united by a common spiritual tradition and leader, and that they will be again. We were anciently united as Amaruca or Ameruca, meaning the "Land of the Serpent", during a time when the serpent was the universal symbol of mystical wisdom and spiritual power. One legend states that North and South America were named after a culture bearer known historically as Aramu Muru or Amaru Meru, the "Serpent Meru." Aramu Muru came from the ancient continent of Mu with many power objects, including the powerful Solar Disc that had previously hung in an important temple in his homeland.
Omorca, Omoroka (Chaldean version of Babylonian Tiamat)
http://www.websters-online-dictionary.org/Om/Omorca.html
Omorca: The goddess who was sovereign of the universe when it was first created. It was covered with water and darkness, but contained some few animals of monster forms, representations of which may be seen in the Temple of Bel. (Berosius.).
Tlaloc
Tlaloc is the Aztec god of rain and fertility. He was greatly feared among the Aztecs, who drowned children to appease him. They believed that Tlaloc was responsible for both floods and droughts, and that he had been created by the other gods. He is commonly depicted as a goggle-eyed blue being with fangs. Although, people have had several ways of picturing this god, it was more often pictured as a man wearing a net of clouds, a crown of heron feathers, foam sandals and carrying rattles to make thunder.
http://en.wikipedia.org/wiki/Tlaloc
I am proposing that the Tiamat-equivalent sea serpent, named "Tlaloc", whom I have shown as the "google-eyed" serpent head among the pre-Aztecs, and his/her powers were downgraded (though not eliminated), and may even have had a sex change. The reptilian-looking, google-eyed Tlaloc may have been Female to the Tiwanaku tribes, but was considered to be Male among the Aztecan era tribes. Among the modernish Aztecs, Tlaloc was considered among the "old Gods", but was still revered as the "rain God".
As a direct Greek/Tiwanaku comparison, though, I would position Viracocha as the equivalent of Poseidon, and Tlaloc the equivalent of Thalassa, or any of several "Theoi Halioi" (Gods of Hell?) - Greek water deities found on an exceptional website by Aaron Atsma's www.Theoi.com...
http://www.theoi.com/greek-mythology/sea-gods.html
Based on all my amateur research, from the most ancient of recorded mythologies, the four common denominators, ...among the mythologies of Tiamat, Thalassa, Omoroca, Tlaloc, (and many other similar names) are:
1. their association with religious snake-creatures (rebirth/resurrection mythologies)
2. their association with the primordial waters/oceans/rains (creation/fertility mythologies)
3. their position as "messenger" or "correspondent" between the earth (land/ocean) and the celestial heavens (sky, air, stars)
4. There is also a puzzling dichotomy of "good and evil aspects": as as an agent of life creation, and at the same time, horrific decapitator or killer of mankind.
The graphic that I have added has the images of Lamashtu, Viracocha/Tlaloc?, Ishtar/Lillith, and a Cretan Snake Goddess not identified....
The snake in historical mythologies....Renewal, Rebirth, Regeneration
"Serpents are connected with renewal or regeneration. This trait is connected with the practice of snakes of shedding their old skin and growing a new one."
http://en.wikipedia.org/wiki/Serpent_(symbolism)
Poison and medicine
"Serpents are connected with poison and medicine. The snake's venom is associated with the chemicals of plants and fungi....that have the power to either heal, poison or provide expanded consciousness (and even the elixir of life and immortality) through divine intoxication. Because of its herbal knowledge and entheogenic association the snake was often considered one of the wisest animals, being (close to the) divine. Its divine aspect combined with its habitat in the earth between the roots of plants made it an animal with chthonic properties connected to the afterlife and immortality."
Authors note: I don't claim to understand all of this, only part of this, but I absolutely do see the commonality of symbolism and theology between the Tiwanaku, Inca, Aztec, Mycenaean, Greek, Egyptian, and many other contributing cultures.
There are so many overlapping cultures and belief systems and time-eras that are blended into this research material, it is hard to pin down, and may take 100 more years for more qualified persons than myself to articulate.
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Ed Ziomek
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| Posted: Sat Nov 17, 2007 9:25 pm Post subject: Blue Blood, Royal Blue, and Levels of the Underworld |
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Where did the high esteem for "blueness" come from?
On one hand, blue and purple dyes in the natural world were not easy colors to have, and the making of these colors for pigmentation purposes was a very complex and costly process which only the wealthy could afford. The ancient Egyptians used purple only in the highest of positions. The European monarchy used it only for the highest of dignified and royal occasions. Interesting fact, is that the Aztecs also had a reverence for the colors dark blue, light blue, and aquamarine, especially in relation to the God Tlaloc, God of Rain.
From history...
"The earliest archaeological evidence for the origins of purple dyes points to the Minoan civilization in Crete, about 1900 B.C. The ancient land of Canaan (its corresponding Greek name was Phoenicia, which means "land of the purple") was the center of the ancient purple dye industry....
"Tyrian Purple," the purple dye of the ancients mentioned in texts dating back to about 1600 B.C., was produced from the mucus of the hypobranchial gland of various species of marine mollusks, notably Murex. It took some 12,000 shellfish to extract 1.5 grams of the pure dye. Legend credits its discovery to Herakles, or rather to his dog, whose mouth was stained purple from chewing on snails along the Levantine coast. King Phoenix received a purple-dyed robe from Herakles and decreed the rulers of Phoenicia should wear this color as a royal symbol."
http://pffc-online.com/mag/paper_history_shellfish_royalty/
As far back as the Atlantean myths of Classical Greece, Plato related the story that Atlantean priests also wore ornate deep-blue robes, much like the purple robes of modernish Europe, and Hindu/Buddhist Asia.
Blue Gods, Blue Demons, Blue Blood?
As we all can understand the "ocean blue" of the creation myths, there is also the simplistic "deep purple-blue" celestial night heavens representing the Gods and Kings.
But where did light blue come from, and what did it signify if anything at all?
In my recent study of the Google-eyed Tlaloc character in the Tiwanaku, Bolivia, Teotihuacan and Tenochtitlan Mexico, I came across several written accounts, murals, artistic renditions showing persons coloring their skin blue during religious festivals, wearing blue clothing, with the priests wearing ornate blue robes. Some of the most prestigious Gods and Demons were depicted in blue or aquamarine. Note: I also found similar Divinity figures and cultures in Asia covering themselves in blue dye for religious purposes.
Of all the rare surviving painted images of the Americas, one specific mural caught my eye, and it is called the "Paraiso de Tlaloc" at Teotihuacan in the Valley of Mexico.
(Note: the mural has been blue-enhanced for emphasis only)
Levels of Hell and the Underwater-world
This mural may be one of the most important ancient paintings in the Western Hemisphere. It shows what can be described facetiously as the "Paradise of Tlaloc" drenched in a blood-red background. A better name might be "Hell Underwater", or "Levels of Hell", or "Punishments of the Underworld". Within the mural is a confusing array of dramatic scenes of multi-colored individuals descending into a watery abyss, level-by-level into the underwater-world. Possibly these figures endured punishment, maybe torture? Scattered throughout the mural are depictions of butterflies, the ancient Greek-ish symbol of rebirth, and resurrection of the deceased persons.
At the top of the mural with his "head out of the water", is the demonic yellow-green or aquamarine/blue Tlaloc, the reptilian google-eyed monster-serpent.
At the bottom of the mural is a layer of plants, trees, and vegetation, in some form of garden.
Is this the Cauldron of Creation? Is this the garden of creation?
If you look real close within this cauldron of hellish turmoil, there are tan-colored individuals, and whitish individuals, with an interesting few human figures colored light blue. I am theorizing that the light color blue/purple might match the hypothermic human body, after drowning in the ice-cold waters. This light blue might represent the human death-state, much like the "underwater-world" projected in the mural. Tlaloc was the death/rebirth serpent God of rain, and rebirth, and he is most often depicted as "blue" and aquamarine in color. The mural suggests that "Going to God", or "Closer to God", might mean "turning blue", and certainly seems to represent devotees of Tlaloc who have passed on from "living" into "death" and then "rebirth".
However, among the many, many unknowns of this mural, there is another element within this hellish cauldron scene, and that is the blue-robed individuals, or blue-belted individuals, or the blue-skinned individuals, all seeming to enjoy a higher status than their "fellow hellions". I say that experts will have a 20-year project on their hands studying this one painting, given all collected evidence and theories.
Fascinating Coincidence: Is this blueness a deeper clue?
While "blueness" is not proof of anything, it is coincidental that this "blueness" is in the same place as the Temple of Tlaloc, the Valley of Mexico and Teotihuacan, which is also saturated with Atlantean naming conventions, which also has the Egyptian Ankh symbol of life and rebirth on Mt. Tlaloc, and where two amazing cultural slogans are: "Where men become Gods", and "the birthplace of mankind".
...Blue Laws? ....From the Plato Atlantean legend....
http://www.themystica.com/mystica/articles/a/atlantis.html
"Poseidon set down laws for Atlantis which the rulers were to fellow. The ruling body was to meet regularly. It was to consist of ten rulers which represented the first rulers, Atlas and his nine brothers, who reigned with absolute power of life and death over their subjects. These meetings occurred in the temple of Poseidon where the first rulers inscribed the laws on a pillar of orichalcum. First, as required by ancient ceremony, pledges were exchanged...The rulers were served wine in golden cups, each poured a libation over the fire and swore by oath to give judgment according to the inscribed laws. When ending his vow each drank his wine and dedicated his cup to the temple. This was followed by a dinner which preceded the rulers putting on magnificent blue robes in which they judged matters concerning the kingdom according to Poseidon's laws."
...From Richard F. Townsend, The Aztecs, page 139
"The New Fire rites celebrated at Tenochtitlan. A procession of deities bearing unlit torches leaves for the hill Huixachtitlan...Huixachtitlan is shown with a fire drill...Footprints indicate the route of the torch bearer to the main fire temple of Tenochtitlan, where representatives from the four quarters light their torches. ...Women and children wear blue masks in houses, and a pregnant woman is guarded in a granary...."
There are so many intricacies in this Mural at "Paraiso de Tlaloc", I am strongly suggesting an intensive academic study of this one monumental piece of history at Teotihuacan.
Interesting background pieces....
A few Alternate Names of Hell: Annwn, Diyu, Duat/Tuat, Gehenna, Hades, Hel, Jahannam, Naraka, Purgatory, Limbo, Sheol, Tartarus, Yomi.
...and just for fun, Christian Levels of Hell...
Limbo: Level 1, the unbaptised
Lust: Level 2
Gluttony: Level 3
Avarice and prodigality: Level 4
Anger and accida: Level 5
Heretics: Level 6
Violence: Level 7
Simple fraud: Level 8
Treacherous Fraud: Level 9
Lucifer: Level 10.
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Ed Ziomek
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| Posted: Tue Dec 04, 2007 8:39 pm Post subject: Blueprint-Floorplan of Gate of Ishtar, and Teotihuacan |
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Babylon and Teotihuacan...same blueprint-floorplan?....
Let me recap my theories:
The theology of Tiwanaku and Cuzco, and most definitely the original Teotihuacan Mexico had many God-trinities over their lifetimes of 4-5000 years. As restated a few times, one of the many "trinities" of Gods over those 5000 years was the Mother Ocean Viracocha, the Sea Serpent-google-eyed Tlaloc, and the Eagle. Later versions may have been the Sea serpent, the Eagle, and the Aten sun disk, in a three-step arrangement showing "lower earthly world", "Upper sky world", and Inner world.
I certainly do not understand all the distinctions. Possibly no one does.
I am guessing that in the ancient transitions from the maternalistic Mother Ocean, Mother Earth societies to the paternalistic societies such as Greek/Zeus, the serpent in the equation was killed off. Much like the Apep snake mythology of Egypt, this "killing off" may have been merely a reflection of the Sun "dying" each night, only to be reborn the next day.
However, in the Babylonian mythology, I believe that the serpent was actually slain by Marduk, and this death was for perpetuity...never to be reborn.
In the process of this research, imagine my surprise when I was studying the "blueprint-floorplan" of ancient Babylon-Baghdad, containing the Gate of Ishtar, and Temple of Marduk, when I compared it to the "blueprint-floorplan" of Teotihuacan in Mexico.
With some imagination, the two diagrams seem to overlay fairly exact from the top of the Processional Way of the Gate of Ishtar, to the Temple of Marduk - in Babylon, and from the Axis of the World below the Moon Temple at Teotihuacan, down the Avenue of Death to the unknown temple complex to the South.
As we all understand, it seems like Teotihuacan has gone through numerous upgrades, deviations, theology spins, God subtractions, and such, so that there may be five layers of theology-devotion in the Temple of Teotihuacan complex. The blue additions are from the Giza Plateau similarities on World-Mysteries.com.
http://www.world-mysteries.com/gizavsteotihuacan.htm
While the Babylonian Tiamat/Thallassus Serpent was killed off by Marduk, the Aztecan Tlaloc survived over time, possibly becoming the Atlas character.
Let me present the blueprint-floorplans of both Babylon and Teotihuacan, and let the academics argue their authenticity and accuracy and plausibility.
I think they do match, and I certainly find it of major, major interest and significance.
Gate of Ishtar, Processional Way in Babylon, similar to "Avenue of Death" at Teotihuacan...
As I have told many people over the last few years, 99.99% of all my material has already been published and is found in hundreds of books and libraries and the internet. My latest acknowledgements go to Ignatius Donnelly, author of "Atlantis, the Antidiluvian World" (1890), to Robert F. Marx who wrote "In Quest of the Great White Gods" (1992), Graham Hancock who wrote Fingerprints of the Gods (1994) and The Sign and the Seal, Robert Bauval "The Orion Mysteries", and as always, Alex Sokolowski of www.world-mysteries.com who supplied the key ingredient for this segment. None of this would be possible without their published contributions.
And thanks again to www.imageshack.us for free image hosting.
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Ed Ziomek
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| Posted: Mon Dec 24, 2007 2:53 pm Post subject: Capricorn Iconic Design found on Tula Wall, Mexico |
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I believe I have an interesting observation to share with you, that of the iconic symbolism of the Bhuddist Sign for Capricorn, on the wall of Tula, Mexico.
http://www.heliastar.com/capricorn.html
Capricorn traverses the depths as well as the heights. In the ancient Sumerian myth, when the goddess Inanna is trapped in the Underworld, it was Enki, god of wisdom, land and waters, pictured like the goat-fish of Capricorn, who was able to save her. He took some bits of clay from underneath his fingernails (he had been sculpting mountains, no doubt) and fashioned two little critters who buzzed down unseen through the gateways to the lower world. They fearlessly approached and consoled the raging underworld goddess so that she would free Inanna. ...
http://www.skyscript.co.uk/cap_myth.html
The constellation has a widespread association with aquatic creatures in ancient times. Early Hindu astrologers depicted it as a goat's head upon the body of a hippopotamus and it was known by some Latin authors as Neptune's Offspring or The Rain-bringing One. This is partly because the Sun's passage through this section of the sky coincided with the rainy season of the ancient year. The symbolic roots are also tied into the worship of Ea, one of the most important Babylonian gods who ruled over Waters, Wisdom and Magic. Ea's domain was the 'Primeval Deep', and he was known by the title 'Antelope of the Ocean'."
Author's Note: From other material, I am led to believe that this Capricorn "antelope of the ocean" evolved into various other aguatic animals with more modernish ancient cultures, including the dolphin and the sea horse.
"Classical mythology linked the constellation figure of Capricorn with Pan who during the war of the Titans jumped in terror into the Nile and changed his shape into that of a goat-fish. Thus the words 'panic' and 'pandemonium' originated. Greek myth also associated the symbolism to Dionysus (Bacchus to the Romans), the god of wine, agriculture, and earthly fertility; or Liber 'the free one', an older Italian god of fertility and growth in nature. All of the classical associations exploit the symbolism of the goat's horn as a drinking vessel and cornucopia - an abundance of the gifts of nature as seen in the sustenance offered by the goat's milk. Capricornus is the Latin name for the constellation which refers only to a goat's horn, a potent symbol for fertility which gave rise to a reputation for hedonistic behaviour and the more negative tendencies associated with 'acting the goat'. In many respects these attributes present an extreme quality of Zeus who was nourished in infancy by the goat Amalthea. A deeper spiritual significance, and a more Saturnian flavoured origin is revealed in the ancient depiction of this star group as a goat's forebody attached to the tail of a fish.
Ea was the most stoical of the ancient gods and his mythological traits reveal him to be a constant friend to humanity. The Greeks preserved his character in their own myth of Oannes, an exceptionally wise creature, described by Berossus as half-fish and half-human, who was said to have emerged from the ocean on four occasions to bring culture and civilisation to mankind. Ea and Oannes are both described as articulate, patient, tolerant and serene. Their lack of emotional excitability are impressed upon the character traits associated with the star sign Capricorn.
Despite its zodiacal importance, Capricorn is unremarkable as a constellation, possessing no stars brighter than 3rd magnitude. It is second only to Cancer for its lack of luminosity and, like Cancer, was regarded as a celestial portal between Heaven and Earth. Whereas Cancer was 'the Gate of Men', through which souls descended to Earth from Heaven, Capricorn was 'the Gate of the Gods', the portal of ascension through which souls of the departed ascended back to Heaven. This ties neatly with Hermetic Philosophy, which regards the sphere of the Moon, the planetary ruler of Cancer, as the final realm in which incarnating souls acquire shape and form in birth, and the sphere of Saturn, the planetary ruler of Capricorn, as the final realm in which ascending souls free themselves from earthly trappings upon death. It is assumed that this association developed whilst the Sun's ingress into Cancer marked its greatest elevation and Capricorn marked its nadir. Early philosophers looked upon water as the element from which all life emerged, hence symbolism of an aquatic or amphibious nature is prevalent in the constellations linked to these points.
This Hermetic-Platonic philosophy has a direct relevance to Babylon and therefore strengthens the argument that Capricorn celebrates the mythology of one of their prominent gods. The name 'Babylon' is the Greek form of bab-ili, the Assyrian translation of the Akkadian ca-dimira, 'gate of the gods', by which name it was locally known. The Hebrew name Babel (bab 'gate' + el 'god') shows the connection more clearly.
As 'the Gate of the Gods' Capricorn was favoured for times of sacrifice, and in the zodiacs of Denderah and Esna, where it is depicted by a goat-fish, it is called Hu-penius, meaning 'the place of sacrifice'. Goats were a creature of choice for atoning sacrifice - Letviticus of the Old Testament describes a ceremony whereby one goat is offered in sacrifice, to be slaughtered on the north side of the altar, whilst a second becomes a sin offering, a scapegoat which after the ceremony is exposed to the wilderness as the bearer of man's sin.
This scapegoat fell naturally into the symbolism of evil, some Biblical translations refering to it as Azazel, an outcast evil spirit residing in the wilderness. Azazel has subsequently been seen as a demonic goat god that has influenced pagan illustrations of the devil. But this is a very distorted vision of the symbolic properties of the goat. The goatfish however can be seen as a powerful dualistic emblem, uniting creatures that roam the mountains with those that swim the depths of the ocean, a symbol of the integration of spirit in matter which must one day be separated and held to account.
Ptolemy noted the stars in the horns to be like Venus with a lesser influence of Mars; those in the mouth like Saturn with a lesser influence of Venus; those in the feet and belly like Mars and Mercury, and those in the tail like Saturn and Jupiter.
Manilius suggested that the stars in the first half of the sign are subject to Venus 'and that with a guilt involved', whilst 'a more virtuous old age is promised by the conjoined fish below'. ...
Manilius also saw Capricorn as the source of metal-workers' talents because Capricorn, as the sign of winter, related to the year's (and therefore the earth's) depths. He associated Capricorn with that which needs a 'renewal of flame' because its season brought back a renewal of the sun's light following the winter solstice."
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| Posted: Sat Dec 29, 2007 12:39 am Post subject: Capricorn Style Symbol, with Marduk and Poseidon |
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In further researching the Capricorn-style icons in Tula wall-crowns, I have found more tantilizing evidence of Babylonian influences in the Valley of Mexico.
Graphic one is a comparison of Marduk and his serpent figure called Mushussu, aka Ningish-zida. (thanks to the exceptional website Theoi.com...http://www.theoi.com/Olympios/Poseidon.html)
The first figure stands next to the modern and ancient Capricorn icons similar to what is crowned in Tula, and a figure of Poseidon himself in his fabled chariot, drawn by sea-horses. In my amateurish observations, I believe the Mushussu/Ningishzida snake dragon associated with Marduk, historically evolved into a land dragon with legs, and then probably a flying serpent/dragon with wings.
1000 years later in the Olympian era Greece, this Marduk/Mushussu pair probably evolved into a humanized Poseidon in his chariot -drawn by sea horses representing the ocean-underworld, with a Capricorn-symbolic cloth draped around his body. At the same time, the flying serpent/dragon may have eventually become the Olympian Zeus and Pegasus pair, representing the sky world.
http://www.bibleorigins.net/Serpentningishzida.html
Pictures of the Serpent or Snake who WALKED in the Garden of Eden
Mushussu graphic, with Capricorn head-dress
Walter Reinhold Warttig Mattfeld y de la Torre, M. A. Ed.
"The snake-dragon (with horns, snake's body and neck, lion's forelegs and bird's hindlegs) is represented from the Akkadian Period down to the Hellenistic Period as a symbol of various gods...The mushussu...became associated with Ninazu's son Ningish-zida...the creature was transferred to the new Babylonian national god, Marduk, and later to Nabu. The conquest of Babylon by the Assyrian king Sennacherib (reigned 704-681 BC) brought the motif to Assyria, normally as the beast of the state god Asshur. On Sennacherib's rock-reliefs at Maltai, however, the creature accompanies three different gods, Asshur, Ellil (Enlil) and another god, most likely Nabu." (cf. p. 166. figure 138. for commentary and drawing. "Snake-dragon." Jeremy Black & Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. Austin, Texas. University of Austin Press. Published in co-operation with the British Museum Press of London, England. 1992)"
Graphic two is a side note, showing the Marduk/Mushussu image, comparing it to the Tula figure, and the Babylonian Trinity of (guessing here...) Ishtar Moon Goddess, Marduk, and Shamash as the Sun God.
Note the similarities in helmets between Marduk on the left and the Tula figurine, and also the "Knot of Tula" on the belt buckle area, and the "Knot of Marduk" on all three of the Babylonian trinity. I say the helmets and the belt-buckle-knots are virtually identical.
Net, net, as a coincidental element, the Atlantean legend speaks of the "Temple of Poseidon, riding in his chariot pulled by a team of horses". I say that Atlantean enthusiasts like myself might instead think in terms of a Marduk-type character, being drawn by "sea serpents" instead of horses, or sea-horses.
The Capricorn-style icons on the top of the Tula wall may have originally characterized sea serpents pulling some zoomorphic figure, if not Marduk himself.
Might the Tula Temple complex be, what the Olympian Greeks referred to as, the legendary "Temple of Poseidon"? I don't think anyone knows at this point, but the Capricorn design clues are fascinating.
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Ed Ziomek
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| Posted: Sat Jan 05, 2008 5:25 pm Post subject: Catal Huyuk 7500 BC, and Azapa Chile Geoglyph |
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Catal Huyuk of present day Turkey is arguably one of the oldest confirmed architectural "villages" of the ancient world, with earliest estimates of occupation of 7500 BC.
http://en.wikipedia.org/wiki/Catal_Huyuk
It was a culture based around the mother goddess, and fertility rights, and bull horns. The first graphic depicts the inside of one of those dwellings 7500 years ago, with the mother goddess figure on the right hand side of the wall.
This mother Goddess figure is still reproduced today in Turkish Rug motifs, depicting the ancient mother goddess symbolism. And this identical mother goddess figure shows up in the Andes mountains of Peru and Chile as geoglyphs on the sides of mountains (near Tiwanaku), and on pottery pieces.
Azapa, Chile Geoglyphs
[URL=http://img167.imageshack.us/my.php?image=azapachilegeoglyphslw4.jpg]
The fact that there were ancient depictions of the Mother Goddess in this pose - in ancient Turkey and ancient Chile, and modernish uses of this symbolism among Turkish rug makers, means I cannot claim with certainty that this symbol joins two ancient cultures.
However, combined with the confirmed Sumerian cuneiform clay objects found in 2004 in Chile, I truly believe that the ancient Catal Huyuk architectures, pottery, and weaving technique of story telling, are the identical with the people that we call collectively the "Incas" and the "Tiwanaku" cultures.
 [/URL
"A Language of Motifs" thanks to Bugra Rugs, Istanbul
http://www.oriental-rug-manufacturer.com/hand%20knotted%20turkish%20rug%20wholesale.htm
"The mother Goddess of ancient Matriarchal beliefs. At an early stage all superhuman powers were represented by goddesse. This motif is only shown when the weaver gives a birth to a boy. The hands on hips shows that she is very proud. Motifs such as evil eye and ram's horn signify that the weaver is happy and she is thanking God for her happiness."
But I learned something much more from this research. In the age before Papyrus, probably stuck between the time of deer skin murals, clay tablets, and Papyrus, I think I now understand the role that woven garments played in "story telling" Entire family histories could be sewn into a tapestry or "Kilim".
http://en.wikipedia.org/wiki/Kilim
We ask ourselves, how come no books or documents have survived from entire epochs of "pre-history"? A possible answer is that among nomadic peoples, clay tablets would be too heavy, and deer skins would rot, papyrus would decay, while woven family-history garments, story telling rugs, and woven-prayer offerings might last much longer, and be easily transportable and functional.
[URL=http://img244.imageshack.us/my.php?image=catalhuyukrugjd3.png]
Iconic symbols of Turkish Rug manufacturers, virtually identical with "Inca culture" examples...
Bottom line...the Mother Goddess icon was originally found in Catal Huyuk Turkey. The identical icon is found today as a geoglyph in Azapa Chile, and survives as a Rug motif among Turkish and Pakistani rug manufacturers. It is not a coincidence, it is historically significant, that is my opinion.
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Ed Ziomek
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| Posted: Thu Jan 24, 2008 11:41 am Post subject: Geoglyphs via Google Earth |
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In the last few weeks, I have discovered several "geoglyphs" around the world using the amazing program called "Google Earth".
My first guess is that ancient geoglyphs are everywhere. What has become clear in my research is that with every tourist attraction of antiquities, several lesser-known structures are nearby which for various reasons, are not publicized.
In this segment, I would like to show an amazing set of secondary important geoglyphs which are nearby historical locations, but are not known to the public.
Tiwanaku geometric lines...
Just north of the Tiwanaku enclosure is a set of geometric lines containing an "Inca Cross". This Inca cross figure is also very common as an architectural motif in the Northern Turkey, Armenia areas.
Cosmic Spiral
To the Southwest of Teotihuacan, a cosmic spiral is faintly visible. Also to the West of Teotihuacan, and to the North of this spiral, is a city which is aligned in concentric circles around its center, an unusual city-zoning "footprint".
An entire city underwater: Lake Atitlan, Guatemala?
Unless this is an optical illusion caused by some satellite-refraction off the Lake Atitlan water, possibly my most amazing discovery to date... a very interesting rectangular grid system UNDER Lake Atitlan in Guatemala, showing plausible stone foundation structures.
The size of these rectangular grids and figures are much larger than surrounding modern above-water structures. Yes, it may be an optical illusion, but it is worth further investigation.
Flying Serpent in a corn field....
And finally, found in an area 50 miles north of New York City, near Newburgh, New York, a "flying serpent" geoglyph in a cornfield, which matches the Babylonian and Egyptian mythos of a Hydra-like creature which flies across the constellations, and celestial equators/ecliptics. I believe this animal figure eventually became associated with many more modern mythologies, including Pegasus, and Kukulcan, aka Quetzalcoatl.
But the net, net of all these is that there are so many ancient geoglyphs, and pieces of antiquities all around us, but very few people are interested in preserving them, that is my opinion. And obviously, virtually all geoglyph-antiquities are routinely destroyed with new developments.
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Ed Ziomek
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Ed Ziomek
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Location: Stamford, Connecticut
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| Posted: Wed Mar 19, 2008 10:19 am Post subject: Finding an entire ancient city, on the top of a mountain |
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I am taking a breather here from searching for underwater images, to show the readers an onshore, ancient city-scape and temple structures in Northern Japan, 34 miles East of Kashiwazaki, 22 miles south east of Nagaoka, in what appears to be either Niigata or Fukushima Prefecture. .
Obscured by vegetation, and poor satellite imagery...
Tt is not everyday that I find an ancient city under the "jungle" growth in a mountainous area. To say that I have found a single city is in fact, just 1% of the true story. Due to the overgrowth of vegetation, and extremely poor satellite imagery, I suspect I am missing 99% of the picture.
Difficulty in displaying the faint images...
Certainly I can see the faint lines on my high definition screen, in enhanced high def Google Earth, but much of the clarity is lost conveying it in low resolution images on any website forum.
The imagery shows an ancient city-scape, exactly like a Machu Pichu set of dense habitat structures on the top of a mountain range. This include at least 50 to 100 residences, and temple structures, and there may be hundreds more. None of these objects seem listed on any map that I saw, but possibly the locals know of this area.
One of the more amazing things is that it specifically displays, under the vegetation growth, an intact "Teotihuacan-style Temple Structure and processional way".
Why are these exact same Thuban-angled city-scapes, found in Mexico, Japan, and on the bottom of the oceans? I don't have the answers. I do know that the "Thuban-angle of declination" of the processional ways can be analyzed for their date of construction, within a few hundred years.
Google map of area (dead center is the area)
http://maps.google.com/maps?t=h&hl=en&ie=UTF8&ll=37.252809,139.215317&spn=0.063536,0.132866&z=13
34 miles East of Kashiwazaki, 22 miles from Nagaoka (popups!)
Temple and Habitat complex area, with markers
Temple and Habitat complex area, without markers (Note the fuzzy colors... I find it so peculiar that these color images from an incredibly good vendor, Terrametrics, are not more clear!?!)
Up close, Dense Habitat, exactly like Machu Pichu arrangement....
I need the Japanese and academic advice on this... who can I send this information to?
Thank you for any referrals.
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