I have seen the wicked man rising like a mighty cedar tree.
Yet, he passed away, and could be found no more.
In the present section the second part of our work on
the symbolism of the Egyptian temple we study two fundamental aspects of
that symbolism which, to our knowledge, have never been pointed out before:
- The Egyptian temples are stylized replicas of Atlantis, with
its mountains, its pillars and its crypts represented explicitly.
- The Egyptian temples derive their architecture and conception
from that of the Hindu temples of India and Indonesia, particularly those built
in the so-called South Indian (or Dravidian) style.
We begin by discussing the features of the Egyptian temples
and their Atlantean symbolism, and then pass on to their Hindu archetypes. Finally,
we discuss the Atlantean (Indonesian) origin of the Egyptians themselves and of
the language they spoke, showing how they kept abreast of the Hindu conceptions
by means of periodic visits to the Land of the Gods (Punt or Indonesia). Let us
start by reviewing the conception and symbolism of the temples everywhere.
The word "temple" derives from the Latin templum,
itself derived from a radix tem- meaning "open court", as in
the Greek temenos. We are used to temples built as closed edifices, such
as Christian cathedrals, Arab mosques and Jewish synagogues. However, in the early
temples everywhere, the place of worship consisted of an open court, at whose
center stood the inner sanctum (or holy of holies), which was indeed closed.
The worshippers were admitted to the temenos or open
court, but their entrance in the inner sanctum was forbidden. There, an image
of the god was kept and catered to by the priests who, alone of all people, were
admitted there. The Hindus call this inner sanctum by the Sanskrit name of garbhagriha
meaning "womb abode" (or "inner room"). In the inner sanctum
the dead god "slept" quietly with his entourage, awaiting the instant
to resurrect and come out in triumph, announcing the return of the Golden Age.
This resurrection of the dead god (Osiris in Egypt, Shiva or
Vishnu in India, Tammuz in Babylon, etc.) was periodically enacted by the priests,
who brought out the image of the god for the ritual. The image was processioned
in triumph (often by boat), usually meeting with its lover. After a few days of
festivities, the god (or goddess) was again returned to the inner sanctum until
it was time for a new resurgence.
The adytum (or inner sanctum) often took the shape of the Holy
Mountain under which the dead god and his court were buried. In Zozer's complex,
built by Imhotep, and possibly the very first such structure to be built in Egypt,
the garbhagriha took the shape of the famous stepped pyramid that survives
even today to the delight of tourists and specialists both. In Babylon, the temple
court surrounded the ziggurat, itself a kind of stepped pyramid not too
far distinct from Zozer's stepped pyramid or, for that matter, from the similar
structures found in Indonesia and even in the Americas (Yucatan, etc.).
As a matter of fact, as we show elsewhere, Zozer's complex
is a verbatim copy of pyramidal complexes of Angkor and Java. It is likely that
Imhotep, a most mysterious figure, was fetched from there, along with a gang of
expert masons, in order to teach the Egyptians the arts of stone-masonry and city-building,
the symbolism of the christian temple
The symbolism of the Christian temple is masterfully described
by J. Hani (Le Symbolisme du Temple Chrétien, Paris, 1978). Hani
starts by asserting that "every sacred building is cosmic, and is made in
the image of the world". He quotes St. Peter Damien, who affirms: "the
church is the image of the universe".
The walls and the columns of the church represent Heaven and
Earth and, in a way, "a cathedral is a visual encyclopedia illustrating Creation".
In no way the temple, Christian or not, is a realistic image of the Cosmos. It
is, far more, a symbolic representation that portrays the inner mathematical structure
of the world. The square shape of the Celestial Jerusalem (Rev. 21:12)
one which many authorities assimilate to the Great Pyramid is the
basic essence of temple architecture. As Hani asserts:
The whole of sacred architecture consists, in reality,
in the operation of "squaring the circle", that is, of transforming
the circle into a square. The foundation of the building starts by its orientation
[along the Cardinal Directions], done in a ritual manner... This process is traditional
and universal, and is found everywhere there is a sacred architecture. It has
been described by Vitruvius and was practiced in the Occident until the end of
the Middle Ages.
Hani then goes on to describing the traditional utilized in
orienting the temple and lying its foundations. With the help of a gnomon (sundial),
the architect determines the two axes of the Cardinal Directions (Cardo
and Decumanus). This consists of a stake driven into the soil, to mark
the center of the edifice. The maxima and minima of its shadow determine the axes
of the Cardinal Directions. A circle is traced using the stake as a center, and
the two axes serve as its perpendicular diameters. In a way, this operation is
a "squaring of the circle", as it combines the fundamental elements
of sacred geometry: the Center, the Circle and the Square or Cross.2
The Circle represents Heaven (the circular horizon) and the
Square represents Earth (the crossing Equator and Meridian Zero). So, the Crossed
Circle symbolizes the Cosmic Hierogamy, the union of Heaven and Earth. This "squaring
of the circle" is a central feature of temples everywhere. In Christian cathedrals
we have the square nave at the center and the round dome or cupola above, representing
the squaring of the circle
In the Far East, many pagodas and temples blend the square base
(the Earth) and the round (often conical) top above (the Skies). Two other instances
from the Far East are the holy mantle of the Chinese emperor and the ritual basket
of the Polynesians. The royal mantle of the Chinese emperor had a squared rim,
which tapered to a circle at the waist. The ritual basket of the Polynesians had,
likewise, a square wooden base to which the round upper portion of wickerwork
In the Great Pyramid indeed a temple of Osiris (his Holy
Mountain) and not at all a fancy tomb of vainglorious pharaohs the circle
is squared in a most ingenious way. The height of the Great Pyramid is worth precisely
the radius of a circle having a circumference equal to the perimeter of the pyramid's
That this symbolism is not originally Jewish, nor Egyptian but
far older and far more universal, is proved by the fact that it is found just
about everywhere. It is found in the Far East, in the pyramidal complexes of Angkor,
Burma and Java. Borobudur, for instance, also masterfully marries the round shape
of the Celestial stupa at its top with the square, stepped pyramid at the base.
This same idea of "squaring the circle" is also found
in certain American pyramids, for instance, in the well-known "Whirling Mountain"
sandpainted mandalas of the Navajo Indians of North America. Likewise, the pediment
of Greek temples such as that of the Acropolis also had a height equivalent to
the radius of a circle having a perimeter equal to the width of its base. We could
quote a further dozen of instances where the "squaring of the circle"
is ingeniously embodied in the geometry of the temple. But the above examples
will have to do for now.
the great pyramid is a replica of mt. meru
The above analysis discloses a fact of fundamental importance.
The Great Pyramid is, itself, a replica of Mt. Meru as a representation of the
Holy Mountain of Paradise. This Holy Mountain is located at the center of the
world, right at the spot where Atlas or, more exactly, the Serpent Shesha,
his Hindu archetype supports up the skies, as a sort of tent above the
earth. Hence, the Holy Mountain is indeed Mt. Atlas. More correctly, this mountain
is identical with Mt. Meru, the Holy Mountain of Paradise of the Hindus from which
all such replicas were originally copied.
The pyramids and, particularly, the Great Pyramid, was called
M'R in Egyptian. As the Egyptians never wrote the vowels of the words,
very likely the word M'R was indeed pronounced MeRu, precisely
the name of the Holy Mountain that was its archetype. Likewise the temples and
even the Christian churches and cathedrals built right on top the stake
driven into the head of the Naga that represents Shesha also represent
the Holy Mountain, that is, Mt. Atlas or Meru. Since this serpent is no other
than Atlas, the temple built above the Standing Serpent represents the Holy Mountain
of Paradise which, in turn, symbolizes the world being supported by the Titan
Atlas. Anyone who takes the trouble to study a little bit closer the Hindu symbolism
of the Holy Mountain Meru and that of the world-supporting naga, the Serpent
Shesha, will immediately recognize its fundamental identity with the ones pointed
The Great Pyramid had its four faces indented at the middle,
so as to form a Cross or a four-sided star as seen from above. These indentations
formed a sort of giant troughs theoretically intended to concentrate and drain
the rain waters that fell over the Great Pyramid. As it seldom (or never) rains
in the region of Egypt (a desert), the real function of these troughs is purely
symbolic, and is obviously quite another.
reality, pyramids represent the shape of Mt. Meru, itself pyramidal and indented
at the center of its four faces like the Great Pyramid. These troughs and their
waters correspond to the Four Rivers of Hindu Paradise which flow from the top
of the Holy Mountain along the four Cardinal Directions. This shape is also the
classical one of Eden, as described in the Bible and in works such as these of
The Judeo-Christian Paradise was visibly copied from Indian
traditions, which are identical, but are far older than Judaea itself. The same
symbolism is found even more explicitly in ancient Mesopotamia, where the so-called
"Seal of Shamash" represents the Holy Mountain of Paradise as an indented
pyramid seen from above, with the wavy lines of the four rivers descending along
troughs indented on the middles of the four faces, as shown in Fig. 1. This figure
reproduces a very ancient Sumerian seal, and the motif originally dates from about
3,000 BC or possibly even earlier. The indentations in question transform the
pyramids into stars, and indeed allude to the Pole Star rather than the Sun. They
are a feature not only of the Egyptian pyramids or their Babylonian counterparts
just discussed, but also figure, say, in the Chinese pyramids which we discuss
the temple of solomon is purely legendary
The Temple of King Solomon is purely legendary. But its idealized
architecture is obviously derived from the Phoenician one, as it was built by
Hiram, a Phoenician. It can be reconstructed from the fairly accurate biblical
descriptions, as well as from archaeological remains of temples such as the ones
of Herod, the Great, and the Phoenician temple of Tall Tainat (Syria), dated at
about 1,000 BC, the epoch of King Solomon.
Solomon's temple followed the general plan of the ancient
temples described above. In the front there was the monumental gate giving access
to the vestibule (or introitum). This, in turn, led to the temenos or court,
built as a sort of hall. Next, at the bottom, we had the holy of holies with the
square plan characteristic of the Holy Mountain. This inner sanctum was closed
by a curtain, and access to it was denied to all but the high priest.3
An interesting description of the ideal temple of the Hebrews
is the one of Ezekiel (ch. 40-46). This account closely parallels that
of Revelation concerning the Celestial Jerusalem (ch. 21). And these,
in turn, are copied from the Hindu ones concerning Paradise ("Pure Land"),
as illustrated in the so-called Kalachakra mandalas. Ezekiel's ideal
temple, like the Celestial Jerusalem, was edified "upon a very high mountain"
that is obviously the same as the Mt. Meru of Hindu traditions.
There was, at the top of the Holy Mountain, just as in the Hindu
traditions concerning Lanka, a holy city (the Celestial Jerusalem). This city
or temple the text is obscure and confuses the two was "surrounded
by a wall round about". This wall was square and was aligned with the Cardinal
Directions, having a gate on each of its four sides. It delimited a court paved
with stone on which were built thirty chapels and an inner court, on the south
The adytum (temple proper) was square and had two pillars in
front, each 6 cubits (about 3 meters) broad. The temple was of enormous size (500
canes (or 1600 meters) on a side), being square in plan (probably cubical or pyramidal).
It was surrounded all around by a wall that isolated it from the court destined
to the public. The inner sanctum was decorated with palm-trees and cherubs, motifs
that are allegedly of Mesopotamian derivation, but which ultimately originated
in Hinduism. All in all, Ezekiel's ideal temple closely evokes Zozer's
pyramidal complex and, better yet, its archetypes from Malasia, which it closely
parallels. When one carefully compares the underlying symbolism of these strutuctures
from different corners of the world, their unity of shape, conception and purpose
the temple as an allegory of paradise
The city-temple just described is indeed an allegory of Paradise.
More exactly, it represents Lanka, the Celestial Jerusalem that was the archetype
of its biblical counterpart. In Ezekiel, the "lofty Mountain"
that corresponds to Mt. Atlas (or Meru) is called Ariel (or Harel = "Mountain
of God"), and is identified with the sacrificial altar (ara). This
Sacrificial Mountain is, as usual, an allegory of Mt. Meru (or Atlas), where the
Primordial Sacrifice that of Atlantis (or Paradise) was performed
in the dawn of times.
In front of Solomon's temple stood the two huge pillars
of bronze called Jachin and Boaz. These two pillars closely evoke the two "Pillars
of Hercules" that were the central feature of the Phoenician temples of Baal
Melkart. Baal Melkart, "the Lord of the City", was the alias and archetype
of both Hercules and Atlas, the two deities commemorated by the twin pillars of
the Phoenician temples. These twin pillars indeed commemorated, as they did in
Gibraltar, the strait that led into Paradise. The Pillars of Gibraltar were just
a replica of the primordial ones of Eden (Eden = India or, rather, Indonesia,
the "Indian Islands"), just like so many the Phoenicians posted in the
temples they built at all such crucial passageways to honor Hercules (Baal Melkart),
their supreme lord and patron of navigants.
The two pillars also correspond to the twin obelisks invariably
posted at the front of Egyptian temples. The inner sanctum of the Temple was a
cube of about 9 meters on each side. This structure evokes the Kaaba of Meccah,
whose name and shape are those of a cube. But, as usual, the cubic structure is
just a variant of the similarly shaped pyramid.4
The fancy capitals of the pillars Jachin and Boaz were all decked
with lilyworks and pomegranates, in the traditional way used for both the Tree
of Life and the omphali found all over the Mediterranean Basin. The "lilyworks"
are really lotus motifs, as many experts have recognized. This type of decoration,
very much used in Egypt, ultimately derives from the Indies, as we discuss elsewhere.
Such "lilyworks" invariably figure on top the Indian
stupas, which are the true archetypes of omphali and decorated pillars everywhere.
And they indeed represent Mt. Meru submerged under the seas, with reeds and sargassos
attached to it. Alternatively and that amounts to the same they
symbolize the stump of the Tree of Life with its dual, the Tree of Death, growing
down from its top. The motif is famous in India, as we discuss elsewhere.
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 originated
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 decoration 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 imported 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
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 conflagration.
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 corresponded 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 correspond to the
sacred pools excavated by the archaeologists in the site of the Indus Valley Civilization
(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.
the twin cherubs and the twin goddesses
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 deceased Osiris (see Fig.
They also recollect the twin winged guardians (or cherubs) that
guarded the Tree of Life everywhere. 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).
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.
the far end of the inner courtyard was the temple proper (or inner sanctum), dwarfish
in comparison to the huge pylons and hypostyle rooms. The layout was monumental
in style and developed 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.
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 constructions were, however, eclipsed by that of Ramses III, who turned
the temple into his mortuary temple.
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 (formally 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
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 Açayana = "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
Açayana 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 commemorated 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 (Indonesia) 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 information 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 important 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 illustrated 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
equipped with a triple wall, like Atlantis.
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 constructed 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 façades 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 consisted 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.
the gerzean connection
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 streamers.
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 Salvation, 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.
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 considered 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.
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
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 underseas, leaving an open passage
(a strait or "door") in its place. Hence, the Triple Mountain 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 Egyptian 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
invariably, the pylons of Egyptian temples were decorated with bas-reliefs showing
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 explicitly 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"
generated by the giant explosion of Mt. Atlas. 12
the temple of herod, the great
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 particular, 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.
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 Commandments, 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.
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
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
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
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.
the stepped pyramids and the babylonian ziggurats
In Egypt and Babylon where mountains essentially inexist
the Holy Mountain was represented 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
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.
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 intrusive 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 sepulchers of the dead god. This is the reason
why they were utterly empty, at least in a physical 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.
the far eastern origins of egypt
Turning now to the Far East and to the origins of Egyptian civilization.
We already mentioned 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
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 exception 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 grossly 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 sunk 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 indeed 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.
the pyramids of borobudur
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 contrast 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 monument 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.
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 stages.
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.
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 invariably have
seven steps, even though these may been hidden under the smooth outer cladding.
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.
borobudur and the several levels of reality
The symbolism of Borobudur centers on the gradual revelation
of the several levels of reality to the initiants, more or less in the way the
Egyptian temples did, as explained above. The lowest levels of Borobudur corresponds
to the basest manifestations of reality and progress in the upper levels, until
the ultimate reality the one corresponding to the highest condition of
spiritual enlightenment is reached in the uppermost level. It was meant
to enlighten the visitor and to cause his spiritual progress, as he ascended gradually
and finally reached the summit.
The monument proclaimed the unity of the Cosmos permeated by
the light of Truth. It explained the apparent paradox of the union of incongruals
such as Good and Evil, Fire and Water, Truth and Illusion, Creation and Destruction,
Male and Female, and so on, in the one person of God as the Supreme Reality. Adi
Buddha, "the Primordial Wisdom" is precisely the knowledge of
our paradisial origins in the Far East, in the region of Indonesia.
Adi Buddha is the same spiritual reality that the Hindus call
Mahavidya ("Supreme Wisdom"); that the Gnostics call Gnosis
or Sophia ("Wisdom"); that the Jews named Hokhmah ("Wisdom")
or Binah ("Understanding"), and so on. It is no coincidence that
we have ten sefirots (or "aspects of divine manifestation"),
just as we also have ten steps in Borobudur's pyramid or ten "lights"
in the Temple of Solomon. For, after all, ten is the number of (Indian) Atlantis,
just as seven is the one of Paradise (Lemurian Atlantis).
the wondrous pyramids of southeast asia
Another wonder of Southeast Asia are the temples of Angkor and,
particularly, Angkor Vat and Angkor Thom. The Wat is an enormous pyramidal complex
of some 1500 x 1400 m2 . The complex is surrounded by a vast cloister
and is approached from the west. This is done via a monumental paved road built
upon a causeway delimited by balustrades formed from standing serpents (nagas).
These Nagas symbolize the Cosmic Pillars that support the world, and which
are the Eastern counterparts of the Titan Atlas. The reference to Atlas suggests
an undeniable connection with Atlantis.
The Wat rises in three concentric enclosures that define three
courtyards, as in the Jewish and the Egyptian temples discussed above. The symbolic
meaning of the Wat pyramidal complex is clear to specialists. It corresponds to
the Polar Mountain (Meru), the hub of the universe. The central shrine corresponds,
as in Borobudur, to the supreme reality, while the lower levels, the gate complex,
the cloister, the city of Angkor and the outer world represent, in descending
order, the outer shells of reality. The orientation of Angkor Wat towards the
West represents the fact that it was a mortuary temple.
The Angkor Thom is even more grandiose than Angkor Vat. Like
its predecessor, it replicates the sacred city of Paradise (Lanka), built upon
the slopes of Mt. Meru. The city was in turn, also a symbolic replica of the Cosmos,
on whose shape it was designed. This symbolic universe follows Hindu Cosmological
doctrines. When possible, the kings of Angkor utilized natural hills for the construction
of their holy cities. When this was impossible, they built artificial mountains
in the shape of stepped pyramids like the beauttiful ones of Angkor Thom and Angkor
The central pyramidal complex of Angkor Thom, the Bayon, is
the biggest though not by all means finest of them all. Within the moats of Angkor
Thom, fully 16 km around, lie the huge complexes of buildings and of barays
(dams), lakes and irrigation channels that formed the sacred city, its temples,
houses and palaces.
The plan and conception of angkor Thom are both grandiose. But
the execution pressed by the huge size and the enormity of the work to
be done is somewhat poorer than the refined art of its predecessors such
as Angkor Vat and others. The plan of Angkor Thom illustrates the creation of
the Cosmos darting from the Center (Mt. Meru), and spreading in successive waves
from it. This plan is based in the Cosmogonic myth known as The Churning of
the Ocean of Milk and, even more exactly, in the lotus-like mandalas such
as the beautiful Shri Yantra.19
The two monumental roads leading to the central tower of Angkor
Thom are lined with a mile-long road of divine personages pulling on the body
of the Serpent Shesha (Vasuki) in a giant tug-of-war, exactly as in the myth just
mentioned. The serpent is coiled around the Polar Mountain (Meru) that served
as the giant churning stick activated by the devas and the asuras.
The two parties pull on opposite sides of the churning rope which consists of
the immensely long body of the Serpent Shesha. Below, at the bottom, lies the
Turtle (Kurma), that represents the Paradise sunken to the bottom of the Ocean
of Milk in consequence of the war.
the paradisial fountains of life
The complex of Angkor Thom is also decked with lakes and ponds
and fountains representing the healing waters of Paradise (called Barays).
These symbolize the Fountains of Life that are the central feature of Paradise
everywhere. Another important myth illustrated in Angkor is the Legend of the
Leper King and his magic healing by means of these wondrous waters which are no
other than the Elixir.
This ancient Hindu myth somehow passed into Christianity, where
the Leper King is identified with King Abgarus and his magic healing is attributed
to the Holy Sudary, the actual image of Christ obtained by equally magical means.
There can be no doubt that the legend of the Leper King originated in the Indies.
There it dates from times well before the advent of Christianism as a religion
on its own. This serves to prove the force of diffusion of myths, legends and
religions traditions from earliest times and from the most remote regions of the
Hence, it should not come as a surprise to find out that a similar
diffusion also took place for the far more important traditions concerning Atlantis
and its destruction at the dawn of times. It was precisely the destruction of
Paradise that forced the survivors to come out from Eden and move into distant
regions of the world to which they brought the light of their civilization and
their beautiful religion.
the origins of religion and civilization in paradise
There can be no reasonable doubt then that Religion and Civilization
developed in Paradise, just as our myths and traditions affirm. From there, after
its destruction it was handed down to us by the survivors of the Atlantean cataclysm.
They appeared to us primitives as the gods the angels, the saints, the heroes
and the demons that are invariably mentioned in all ancient traditions. Hence,
just as the Hindus philosophically affirm, there are evils that come to good.
And we also see that Catastrophism is indeed a fundamental aspect of Evolution,
despite the skepticism of the academicians imbued with the arrogance of the science
they mistake for Wisdom and, often, for Compassion.
Creation spreads from its Cosmic Centers due to the impact of
bangs and catastrophes such as the one that destroyed Atlantis and caused the
end of the Pleistocene Ice Age. Such is the idea embodied in the Shri Yantra and
in the Kalachakra mandalas that are precisely the graphic expressions of
the doctrines of Tantrism and of Kalachakra Buddhism. Hence, we see, much to the
surprise of most of us, that Religion is indeed Wisdom, and that it is invariably
far more right and truthful than Science.
the egyptian pylons are indeed truncated pyramids
giant pillars (or "pylons") characteristic of the gateways of the Egyptian
temples are indeed truncated, rectangular pyramids.20
Truncated pyramids and obelisks are a constant in Egyptian symbolism.
This symbolism has passed into Masonic ones, and a topless pyramid figures in
the Great Presidential of the U. S., as shown in Fig.8. The shiny "Eye of
God" which substitutes the top of the Great Pyramid in Fig.6 symbolizes the
fact that the Holy Mountain was indeed a volcano that had its top blown off. Such
is also the symbolism of the stunted pylons of the Egyptian temples as well as
the one of their archetypes, the gopuras of Hindu ones.
the reality of the triple mountain (trikuta)
In reality, the pylons of Egyptian temples represent the Triple
Mountain (Trikuta), the true archetype of Mt. Atlas. More exactly, as we already
said, the Central Pillar was blown off by the explosion and became a "naval
passage" or "gateway" (a strait) flanked by the two remaining pillars,
the Pillars of Hercules.
Such is indeed, we repeat, the symbolism of the imposing pylons
that invariably garnished the entrance of Egyptian temples of Ramesside and later
times. The same symbolism was also expressed by the two obelisks that very often
also figured before the pylon itself. These corresponded to the pillars of Solomon's
Temple (Jachin and Boaz).21
As we discussed further above, the two flagpoles that also decorated
the pylons of Egyptian temples likewise corresponded to the two Pillars of Hercules.
More exactly, the twin poles represented the Twins of Gemini, a word that means
"Twins" in Latin. The Celestial Twins are represented in the Zodiac
by a pair of parallel poles, another symbol of the Pillars of Hercules. The Twins,
often identified with Castor and Pollux, are also called the Dioscuri (from Dios-kouroi,
"the Divine Boys (or Twins)"). The Dioscuri are copied, almost verbatim,
from their Vedic archetypes, the Ashvin Twins. But these two founders of the world
are no other than the archetypes of Krishna and Balarama and, hence, of Atlas
and Hercules. As we commented further above, these gods are also the Twins figured
on the two jambs of the pylons of Egyptian temples and indifferently butchering
the Atlantean residents of Paradise, at its destruction.
all roads lead to paradise
As we see, no matter where we look, we always end up with the
myth of Atlantis. Hence, recapitulating what we just adduced above. The two pylons
(or stunted pyramids) of the Egyptian temples correspond to the two pillars (Jachin
and Boaz) that decorated the Temple of Solomon. They also correspond to their
two obelisks and their two divine flagpoles (neters), and even to their
They also evoke the Phoenician twin pillars dedicated to Baal
Melkart (Hercules) and his twin and dual, Yam or Mot ("Death"). These
two objects also stood for the Dioscuri Twins (Castor and Pollux) and for their
Hindu archetypes, Krishna and Balarama. In Vedic terms, they refer to Gada and
Agada, the Ashvin Twins who stand for the two destroyed Paradises, Atlantis and
To sum it all up: the two pillars (or "pylons") correspond
to the two Pillars of Hercules that demarked the entrance to Atlantis or, yet,
the Gateway of Eden. But these Pillars of Hercules were not indeed the ones at
Gibraltar (phony ones) but the ones that flank the Strait of Sunda in Indonesia
and which are the real Pillars of Hercules that allowed the ingress to Paradise
in antiquity, before Atlantis was destroyed by the Flood.23
christian cathedrals equivalent to egyptian temples
is interesting to note that the symbolism of the Christian cathedrals and churches
closely correspond to the one of Egyptian temples. In them, the spires or towers
substitute the twin pylons or pillars of Egyptian temples. The towers of many
cathedrals such as Notre Dame (see Fig. 9) are stunted in just the way that the
two pyramids of the pylons of Egyptian temples also were. The idea is to represent
the fact that their tops were destroyed in a giant volcanic explosion, the one
that destroyed Paradise.24
The flimsy third tower of Notre Dame represents the regrowth
of the destroyed Paradise. More exactly, since volcanoes are eternal and start
to grow back as soon as they explode, the flimsy third tower of Notre Dame's
cathedral represents the volcanic peak growing back and starting a new era of
mankind in the eternal succession of Cyclic Time.
Many authorities such as Hani whom we already quoted
at the opening of the present chapter recognize the fact that Christian
churches and cathedrals are a replica of Paradise. They also recognize that their
spires represent, just as do those of Hindu and Egyptian temples, the lofty mountains
of Eden. Thence flowed the River of Life, branching out into four rivers, in perfect
correspondence with the Hindu myths on Mt. Meru, the Mountain of Paradise. In
other words, the three traditions Hindu and Christian, as well as the Egyptian
one agree not only in what concerns geometrical patterns, but also in the
As it is not conceivable that the far older and extremely conservative
Hindus cribbed their temple symbolism from that of the Christians, or even from
the Egyptians, we are compelled into accepting that the diffusion took the opposite
direction. In fact, both the Egyptians and the Christians acknowledge that their
doctrines, symbols and traditions originated in Paradise. The Terrestrial Paradise
was indeed an actual place, called Punt by the Egyptians and Eden by the Jews.
Now, these two sites are one and the same thing. They were located Indonesia or,
rather, in the Australasian continent beyond it. This vast piece of land was sunken
down at the end of the Pleistocene Ice Age, some 11,600 years ago, the very date
given by Plato for the demise of Atlantis. Coincidences? No chance!
are indian temples older than egyptian ones?
Egyptian temples appear to be consistently older than their
Hindu and Indonesian counterparts. This is due to the fact that the Egyptian temples
were buried under the desert sands, and were thus spared in great extent from
the fanatic destruction by the early Christians and their successors, the Muslims.
The Indian temples were methodically razed by the Muslims, and hence only date,
with minor exceptions, from later epochs, when religious fanaticism finally yielded
to the voice of reason.
But we find the Hindu traditions and temple symbolism throughout
the Far East, and who knows the surprises that await us in the forests of Indonesia
or under its shallows seas, the burial place of Atlantis. The symbolism of Hindu
temples and pyramidal complexes extends farther out into the Pacific region, all
the way to the Americas (Mayan and Aztec pyramidal complexes and temples). It
is, hence, reasonable to ask: where did this universal tradition first started?
No one will reasonably argue that diffusion took place under
the aegis of historical or even prehistorical Egypt and, even less, of Mesopotamia
or of Phoenicia or Israel. Their traditions and records which would never
fail to mention the important fact thoroughly exclude this possibility.
We are left with India and Indonesia and a very, very ancient tradition that can
only date from Atlantean times and her worldwide empire. As we commented further
above, the tradition that eventually resulted in the sacred geometry of the Egyptian
temples was probably brought to Egypt by the Gerzeans, who conquered pre-Dynastic
Egypt, some five or six millennia ago. The Atlantean tradition is intimately connected
with the Phoenicians, and the Gerzeans seem to have been proto-Phoenicians. And
they apparently came from Punt, to judge from their symbolism, which we study
in detail elsewhere.
To this pristine tradition that forms the base and essence of
the ancient religion guessed by many specialists, belong not only Hinduism and
Tantric Buddhism, but also Egyptian religion, that of Mesopotamia, the one of
the Mayas and Aztecs and, why not, that of the Christians and the Jews. We are
all brainwashed into believing, from earliest childhood, that our own religion
is unique, historical and original, whereas those of the Pagans are all impious,
diabolic inventions, which are, furthermore, grossly polytheistic and idolatrous.
But this is only an illusion, for essentially all regions derive
from the Urreligion which we just mentioned. "The fear of the Lord
that is the beginning of Wisdom". And this fear of the mysterium tremendum
et fascinans is indeed nothing else but the salutary panic fear inspired by
the subconscious recollection of the cataclysm that wiped paradisial Atlantis
off the map, killing our godlike ancestors by the millions and, indeed, making
Man "rarer than gold of Ophir". It is this killing en masse that
is depicted in the pylons of Egyptian temples, as we mentioned above.
the triple towers of christian cathedrals
is the case of Notre Dame, most Christian churches and cathedrals have three towers
(spires). Except that the third, central tower, is usually smallish and stunted,
and is often almost invisible. The three towers are often pyramidal in shape,
just as is the case of the pylons of Egyptian temples or the gopuras of
their Dravidian counterparts. The stunted central tower commemorates Mt. Atlas,
the central Pillar of Heaven that exploded and collapsed, causing the skies to
fall down over Atlantis sinking it under the sea. The central, stunted tower of
Christian churches and cathedrals is often placed upon the front door of the edifice
as a sort of pediment. This is done as shown in Fig. 9 above.
The structure of St. Paul's cathedral, shown in Fig. 10
is also typical. The two lateral spires are pyramidal in shape and are far taller
than the central, more massive structure. Here this structure is domed to represent
the Celestial hemisphere that collapsed over Paradise. At the front we have the
huge door or gateway, with its triangular pediment above. The lowly pediment represents
the fact that Mt. Atlas was crushed down by the weight of the overloaded skies
it was unable to support.
the many pillars of st. paul's cathedral
The many pillars in front of St. Paul's vestibule evoke
the ones of Atlantis, the land of the pillars (a-tala). Indeed, they commemorate
Dvaravati, the many pillared capital of Krishna, that sunk away in the Flood,
and whose name means precisely "many-doored" or, more exactly, "many-pillared".
Likewise, the clocks that often decorate churches and cathedrals
are intended to remind us that time flows inexorably, leading the world to the
end of the present era, just as happened in the former one. And that end is now
impending on us, according to the Gospels and innumerous other traditions that
affirm that the end is near.
At the forefront of St. Paul's cathedral we have the monument
that stands for the sacred fountain spring or pool that was the invariable feature
of the ancient temples. This fountain commemorates the well-watered barays
of Far Eastern Paradises, as we discussed further above. Hence, the architecture
of Christian churches and cathedrals particularly those of the Middle Ages
almost invariably follow the sacred geometry of Paradise.
In other words, they replicate, just as did the ancient Egyptian
temples, the Triple Mountain of Paradise with its central peak collapsed and turned
into a gateway. This gate is often decorated by pillars precisely as was the case
of the Temple of Solomon or that of Egyptian temples. These pillars originally
represented as palm-tree trunks commemorated Atlantis or, rather, Atala,
the sunken Hindu Paradise that was turned into a hell by the cataclysm. They embody
a play on the word Tala (or Atala) that means both "pillar"
and "palm-tree" in Dravida and Sanskrit. Such puns do not obtain in
any other language we know of, except insofar as they are derived from the tongues
dendera, dvaraka, and other archetypes of atlantis
Hence, we see why Egyptian temples such as the one of Dendera
and, indeed, most if not all others, were full of palm-tree stems figuring the
pillars of Atlantis. As we just said, the many pillars of Christian churches and
cathedrals also commemorated the same fact, perhaps unwittingly. The temple of
Dendera (and others in Egypt) was built underground, with the city of Dendera
constructed above it. Again, the idea was to represent the realm of Atlantis sunken
underground by the cataclysm that turned this former paradise into a veritable
hell, with a new world built over it, the former one.
The name of Krishna's sunken capital, Dvaraka, mentioned
above, means "many doored" or, rather "many pyloned" or "many-pillared".
So do its many epithets such as Dhara ("Pillar" or "Trunk"),
Hastina-pura ("City of the Elephants"), Dvaravati ("Many Pillared"),
Bhoga ("Standing Serpent"), and so on. The word "pillar",
in Sanskrit (tala or atala) also implies the idea of "standing
serpent", "elephant's trunk", "erect phallus".
Ultimately, these ideas refer to the Shiva-linga ("Phallus
of Shiva"), the great god and the emblem of primordial Atala. It also represents
Shesha, the Standing Serpent who was the alias and archetype of Atlas. Indeed,
Atlas was a Titan (or Naga, rather), one of the anguipedal giants, whose
"serpent feet" were a memento of their serpentine origin.
All in all, the symbols and the sacred geometry of temples and
cathedrals everywhere only find their full explanation in the languages and archetypes
of India and Indonesia. And this can only mean one thing, when we pause to think
the problem over: these replicas of Atlantis all originated there, in the dawn
of times. If this undeniable reality is accepted, we can only conclude that therein
lies the true site of Paradise-Atlantis. Where else?
We would also like to point out the fact that, though the ancients
had to follow the rigid canons pertaining to the sacred geometry of temples and
cathedrals, this in no way hampered their creative freedom. Though always following
these stringent canons, the ancient architects and stonemasons exercised their
creativity and came out with the magnificent temples and cathedrals that we can
see, even today, just about everywhere in the world.
Temples, more than anything, attest the unicity of the Primordial
Religion, for they all obey the same Sacred Geometry everywhere and everywhen.
The fact that they all imitate Paradise and, more exactly, Atlantis, is, in our
view, the most compelling evidence that the Lost Continent indeed existed, just
as Plato stated.
It was Atlantis that civilized the whole of the ancient world,
in prehistoric times far earlier than the rise of Egypt, Mesopotamia, Greece,
Rome, and the other civilizations we know of. Atlantis is indeed so old that its
existence was utterly forgotten by all but the pious traditions that come to us
from antiquity. The existence of Atlantis-Paradise is indefinitely stated in our
holy rituals and in the sacred symbols of all religions. But we utterly forgot
their meaning and purpose long ago. And we only perform our rites apishly, and
copy our symbols blindly, never connecting them to the originals at all, and never
realizing that they indeed commemorate Atlantis and its demise, in the dawn of