Where did you come out from my Children?
From yonder, where the Whirling Mountain stands.
Navajo Shooting Chant
The Navajos are the most populous of all surviving Indian nations
in the USA. They comprise about 100,000 individuals, and inhabit New Mexico, Arizona
and Utah. The Navajo Indians are close of kin to the Apaches and were, as these,
deeply influenced by the more civilized, agrarian Pueblo Indians. Under this influence,
the Navajos adopted a sedentary existence, based on agriculture and, later, in
the herding of goats, sheep and cattle.
The Pueblo Indians instructed the Navajos and the Apaches not
only in agriculture, but also in the arts, crafts and religion. Navajo pottery
and their famous rugs derive their design from that of the Pueblos. So do their
silver smithing and, above all, their remarkable sand paintings, which we will
be discussing in some depth.
In the present chapter we analyze, to a certain detail, one
of the main myths of the Navajo Indians, that of the Twins. We show its unequivocal
connection with certain myths of the Old World, particularly those of India and
Indonesia. Moreover, we interpret this myth in detail, showing that it is indeed
an allegorical exposition of the myth of Paradise and its secret whereabouts.
This Paradise is no other thing than Eden or Atlantis, the original homeland of
Mankind and Civilization, as will become clear from the present discussion.
It should be understood that the Indians are very reluctant
to speak of these matters openly, particularly to strangers, as they are part
of the secret of their Mysteries. The Indians prefer to maintain the mystery that
involves their origins in Eden, perhaps in order to preserve their claim to autochthonicity,
as a way to guarantee, perhaps for the future, the legitimacy of their claim on
the ground stolen from them by the whites. But I am quite sure that the elders
of their communities will agree with our interpretation of their myths, even so
they are perhaps preventing from saying so in the open. The reason I am divulging
their secrets for the profanes is because I feel the time has come for the return
of the Golden Age, despite the considerable occult forces that oppose this long-awaited
event. And this divulgation is part of the change.
As such, their stories are only told as myth, often utterly
incomprehensible to all but the initiates and usually ridiculous and misleading.
In fact, such is usually the case with most such traditions everywhere. In the
modern religions, these metaphors are usually pseudo-historicized, and most believers
are made to believe their historicity, even though the events told are quite impossible
in a natural way. Paradoxically enough, this type of person so well-trained
they are will stolidly refuse to believe in the reality of the Terrestrial
Paradise from where the Indians come to have come, while all the time accepting
as an established fact the reality of the Celestial Paradise which the Indians
well know to be a sheer metaphor for the real thing.
We are of the opinion after having researched the matter
for quite a long time now that the real reason behind the scientific theory
that holds the autochthonism of the Amerinds was, and perhaps still is, part of
a concerted effort to deny them their humanity and the divine origin that the
whites claim for themselves. With this the conquistadors and the Bandeirantes
as well as their counterparts elsewhere were justified in plundering
the land and the possessions of the natives, as they did, and in enslaving them,
all in the name of Religion.
So, while the white missionaries thumped the Bible, attempting
to convert the Amerinds forcefully, with the menace of all too real bonfires,
they opened the way for the soldier and the colonists who would rob the natives
of everything, inclusive their very humanity. Of course, this missionary and civilizatory
influence would not be needed if the natives partook of the very same Tradition,
the Primordial Religion and culture that came to us from Paradise, brought by
the angels themselves, in the dawn of times. So, the modern anthropologists who
cling to the view that Civilization developed independently from the Old World
in the Americas are but the legitimate heirs of this ancient tradition, which
they defend irrationally, despite all sorts of compelling contrary evidence.
the religion of the navajos
The Navajo religious system is intricate. Like most Amerindian
nations, they claim to have come from a subterranean world through caves or vents
that connect with this upper world. Theirs is a Mystery Religion based on Drug
Cults (Peyotism), on shamanism, and on amuletic songs, dances, design and rituals.
But the idea of a subterranean Creation one in which Mankind somehow originated
underground and later ascended to this earth in some manner is peculiar
not only to the Navajos, but to most Indian nations of the three Americas.
As a matter of fact, this conception of a subterranean Paradise
whence Mankind sprung into the present era coming from a former one was also widespread
in the Ancient World as well. For instance, Civilizing Heroes such as Osiris,
Serapis, Mithras and several others originally rose from a cave or a subterranean
abode, more or less in the way that Christ too did the same when he rose from
among the dead, returning from Hades. In fact, Hades and other such netherworlds
are nothing but Atlantis itself, buried underground and rendered infernal when
the sky collapsed, falling over its head.
This cave or tomb is also the Primordial Cave, the Cave of Archetypes
of which Plato tells us in his dialogues. It is the Pacari-tambu of the Incas,
and the Cave of Illusion so masterfully described in the Ramayana. In fact,
this cave is no other than the sunken, submarine realm of Atlantis-Eden, as we
just said. Again, the Polynesians also claim to have come originally from a sunken
island or continent which they called by names such as Hawaiki (or Javaiki), which
mean something like "Sunken Grove" or "Destroyed Land", that
is, the same as the sunken Garden of Eden. And, as we argue elsewhere, the Polynesian
Paradise, just as all others indeed lay in the submerged portion of primordial
[Footnote: The name of Hawaii derives from that of Hawaiki
or Jawaiki, the sunken continent which was the primordial homeland of the Hawaiians
and other Polynesians. As we argue in detail elsewhere [Link to article:
The Origin of the Polynesians], the Polynesians originally came from Indonesia,
perhaps via Taiwan and Melanesia. This place they called Jawa or Hawa, a name
derived from the one of Java, the name of these islands in antiquity and even
now. The name of Java refers to "wheat" or "barley" and, perhaps,
"rice". What this means is that agriculture was invented there, as it
indeed was. The name was later extended to the white races (Aryans) which originated
there, before they moved out to China and Mongolia, and then to north and west
Asia, Europe included. And it also refers to Hawwa (Eve), the Great Mother who
mpersons the Aryans and their homeland. On their way east, the Polynesians mingled
with the Melanesians, becoming darker in the process, though originally white.
The scientific evidence we gathered comes from all fields: genetics, agricultural,
mythical, cultural, etc.. It is so impressive that it is hard to reject on valid
the dual creations
Throughout the whole world, traditions tell of two basic types
of Creation Myths. In one, the Ancestors fall down from Heaven above, and civilize
the semi-bestial humans, with whom they breed the new humanity. In the other,
as with the Amerinds, the Ancestors come from the Netherworld, and effect what
amounts to a second Creation which is in all respects the dual of the former one.
This dual Creation and, indeed, Dualism in general, derives
from Hinduism and seems to form the base and essence of the Urreligion
("Primordial Religion") postulated by certain anthropologists of note.
We encounter this Dual Creation even in the Book of Genesis. There, the
first Creation attributed to Elohim is told in chapter 1 of that
book, whereas the second one, attributed to Jahveh, is narrated in chapter 2,
as the reader can verify for himself.
The language in both passages is (purposefully) obscure, but
is unmistakably dual. The god of Gen.1, Elohim is clearly Celestial. But
the one of Gen.2, Jahveh, starts his Creation from below, as "the
mist that came up from under the earth". In other words, the spirit ("mist")
of God ascends from below, together with the subterranean waters and, certainly,
followed by his hosts (or people), much in the manner of the Indians.
In several Cosmogonies, we have the so called "Earth-Diver"
fetching the earth from under the seas, in contrast to the Fallen Sun that drops
from the skies down to earth, as an avatar of the Celestial God. The archetype
of the Earth Diver is Vishnu, in his Boar avatar (Varaha). The one of the
Fallen Sun is, again, derived from a Hindu archetype; that of Vishvasvat, the
Sun, and his many aliases. Both of these Cosmogonic motifs date from Vedic times
in India, and there can be no question of Hindu precedence.
As we said above, the Navajos learnt their Mystery Religion
from Pueblo Indians such as the Zuñi of New Mexico. The Zuñi in
turn relate to the Aztecs and the Mayas of Mexico, whose advanced civilization
is well-known. This diffusion of civilization can be traced further back to the
Incas of Peru and, across the Pacific Ocean, all the way to Indonesia and to India.
the pueblos and the architecture of çatal huyuk
It is sufficient to compare the unique pueblo constructions
of the Pueblo Indians with those of Çatal Huyuk, in Anatolia, or those
of Harappa and Mohenjo-daro, to conclude that they were undoubtedly built (or
designed) by the one and same people (see Fig.1 below). The pueblos are,
like their Old World counterparts, a sort of human "beehive" in which
the individual apartments form "cells" destitute of doors and windows.
The only access is through the roof, by means of a manhole and
ladder. In case of attack, the ladders could be withdrawn, and the "city"
became an impregnable fortress. Çatal Huyuk has been dated at 9,000 years
ago, and is one of the oldest known cities. Burial methods, the advanced agriculture,
bull-worship and the cult of the Great Mother, and several other similarities
further testify to an ancient connection among these distant sites.
Indeed, the sun-dried mud bricks fired when firewood
was available lead us to think of Adam, made of the same stuff. Zuñi
mythology depicts their ancestors actually emerging from the underground mud in
Paradise and immigrating to their present location.
atlantis, eden and the seven golden cities of cibola
Pueblos were early associated by the Spaniards with the Seven Golden Cities
of Cibola and with the legend of the Eldorado.[LINK: to my article on Pueblo
Indians] And these are, as we argue elsewhere, the same as the Seven Islands
of the Blest, which are no other than the sunken Eden of the Judeo-Christians.
The name of the Golden Cities of Cibola very obviously came from the Dravida civ-pola,
meaning "golden city" or, yet, "city of the reds". It is interesting
to note that "Reds" or "Golden" are usual epithets of the
Atlanteans. Adam too was a "Red", that is, a Chamite, as his name (means
"red") unequivocally indicates.
the number seven attached to the cities of Cibola is also the one of the Isles
of the Blest and similar sunken realms of the ancients. In fact, the number alludes
to the seven great islands of Indonesia: Java, Sumatra, Borneo, Celebes, Philippines,
New Guinea and the Malay Peninsula, which the ancients counted as an island.
We recall that the fundamental rule of the science of symbolism
is that a symbol or a convention cannot be invoked to explain the origin of another
symbol, for this just transfers the problem. So, the sacredness of the number
seven the holiest number of the Hindus can only derive from their
seven Dvipas or Paradises, that is, from precisely the above islands. Can you
think of another sacred seven that is not purely conventional in origin?
The Spaniards mistook the Americas which they later called
West Indies for the East Indies, which they knew to be the site of Paradise
and, hence, of the fabled Seven Golden Cities of Cibola. Cibola, "the Golden
City", is just one of the many names of Lemurian Atlantis. The name of
"Seven Golden Cities" or "Seven Golden Islands" was applied
by the ancients to the Indonesian islands, and to no other place. [LINK:
My article (to choose) on Mythical Islands of the Atlantic, etc.]This
name is indeed a translation of the Sanskrit Suvarna-dvipa, which gave
the Greek Chryse Chersonesos and the Latin Aurea Chersonesus, all
meaning the same thing as "Golden City" or "Golden Island".
the twins and the great mother
The Navajos trace descent through the mother, and their families
centers around the grandmother. This is another evidence of their cult of the
Great Mother, which is a feature of Dravidian Hinduism. The Navajo rites, chants
and dances are based entirely on the characters, incidents and places of their
mythology and ritual designs. The dancers wear masks and dresses according to
exacting standards, and impersonate the gods and heroes (Kachina) of their
Foremost among these ancestral heroes of the Navajos are the
Twins, the sons of Sun and Earth-Mother. These Twins are also called "Little
War-Gods", a name which closely evokes the one of the Hindu Ashvin Twins
and, more exactly, the two brothers Skanda and Ganesha, respectively the generalissimos
of the gods and of the devils in Hindu mythology.
The Twins free the earth from all sorts of monsters, creating
order out of the prevalent chaos. The Navajo Twins closely correspond to the ones
of the Pueblo Indians and those of the Mayas and even the ones of the Indians
of South America. Indeed, the Navajo Twins are the counterparts of the many twins
of the Old World, pairs like Castor and Pollux, Atlas and Gadeiros, as well as
the Ashvin Twins of Vedic India. In all cases the function of these Twins was
ridding the world of monsters and pests, including diseases and vermin. This is
true on both sides of the world. Hence, it is naive to think that such perfect
correspondences can be the result of chancy coincidences, as they are too perfect
for that. It is only the generalized ignorance of these traditions that allows
the enduring of the foolish theories which prevail among the academics who generally
believe that these civilizations developed in total isolation from each other.
A close comparison of these and other mythological personages
reveals the fact that Amerindian religion is very much the same all over the
three Americas, particularly insofar as their Cosmogony is implied.[LINK:
to my article on Mayan and Aztec Religion] However, as is so often the case
with the oppressed races, the Indians disguise their true religion under a heavy
veil of allegories and symbolisms that have to be deciphered before the underlying
unity and purpose become evident. Even in this regards, the religion of the Amerindians
closely parallels the Mystery Religions of the Old World, whose secret contents
was never divulged to the profanes, particularly if these belong to the despicable
white races they so hated, for very good reasons.
djos y ley, the archetypal twins
Frequently, the Navajo own gods are synchretized to the alien
deities and saints, despite the fact that they are indeed their duals. For instance,
the Pueblo Indians disguised their Twins, during Spanish dominion, under the characters
of Djos and Ley. These two are characters akin to the Trickster, and figure in
vulgar tales tending to the fescenine.
In fact, their names are corruptions of the Spanish Dios
and Rey ("God" and "King") and embody the two types
of divine authority that we encounter the world over. These two types correspond
to the powers the Hindu impersonated in Mitra and Varuna, as so amply discussed
by Prof. G. Dumézil. Mitra ("twin") is the Solar Twin, and personifies
Royalty (Ley), much as Varuna is the Lunar Twin who corresponds to Magic
and Religion (Djos).
The Twins personify, everywhere, the two races of Man, from
which all humans arose. The junior (or lesser) twin is often likened to a woman,
and is dominated by his elder twin. Sometimes they are made into a Male and a
Female and their role is switched as the eras alternate. The Twins are often likened
to the Sun (or Sky) and the Earth (or Hell), which are esteemed to be their parents.
With the Barasana Indians of the Brazilian Amazon jungle, the
Twins are substituted by the Primordial Couple. These two consist of Jurupari
and Romi Kumu. Romi Kumu somehow lost his/her phallus, and became the Great Mother,
just as Jurupari, the Great Father, also lost his own, in a later occasion. But
in many other South American nations, the male (or androgynous) character of the
Twins is preserved, with one of them dominant, and the other one dominated and
effeminate, often a castrate.
These two Primordial Castrates closely evoke the ones of Greek
mythology (Ouranos and Kronos), themselves copied from Brahma and Shiva, their
Hindu archetypes. When one pauses to reflect, it is difficult not to realize the
common origin of these mythologies somewhere. And when one thinks even harder,
it is easy to see that this origin can only have been in the East Indies, whence
we all came from, in the dawn of times. In fact, the myth of the Twins and of
the Primordial Castration actually refers to the eruption of the twin volcanoes
of Indonesia, the Krakatoa and the Toba,[LINK to site article: the Origin
of the Seven Sacraments] the true archetypes of the two Pillars of Hercules.
These explosive eruptions resulted in the destruction of Paradise, and the consequent
diaspora of their former dwellers to the different parts of the world, the Promised
Lands where they would attempt to rebuild their Paradise Lost.
the twins as fire and water
More exactly, the Navajo Twins are, respectively, like their
Hindu counterparts, the children of the Sun and Water by the Earth Mother. Again
this dualism is of Hindu origin, and the Sun is indeed Agni (the Fiery Principle),
whereas the Water corresponds to Indra or Varuna (the Watery Principle). Vedic
mythology is extremely difficult to penetrate. But it is possible to show that
Mitra ("twin") is really an epithet of Indra (ind = "water"),
whereas Varuna is really the Celestial (or Sun) god fallen down into the Ocean.
When this reversal of roles happened, Varuna was degraded and
descended to the bottom of the seas, trading role with his Twin (Mitra), that
ascended to Heaven. In fact, the two gods represent the two volcanoes just
mentioned, the Toba and the Krakatoa, as well as the cataclysms they cause, by
Fire and Water. Fire stands for the volcanic conflagrations and, more exactly,
the nuées ardentes they cause, whereas Water symbolizes the giant tsunamis
caused by the explosive eruptions of submarine volcanoes such as the Krakatoa.
This phenomenon in all probability caused the end of the Pleistocene Ice Age by
means of the so-called Heinrich Events and others, as we argue elsewhere in
detail. [LINK: to my article: Volcanoes - Internet]
The Navajos and the Apaches express their religion in the ritual
dances and chants of the whole community. These ceremonies are intended to reestablish
Cosmic Order and, hence, bring back health to the sick; rains to the crops; game
to the hunters, etc.. They also drive away the evil spirits that disturb Cosmic
Harmony, and invite in the good ones that foster it. All their arts are combined
in the rituals: the elaborate poetry of the chants; the mythical geography; the
beautiful masks and feather headdresses; the deep symbolism of the intricate sand
paintings and, finally, the spectacular dancing of the actors who wear the godly
Both the Apache and the Navajos call the Twins by names such
as "Killer-of-Enemy Gods" and "Child-of-the-Waters". These
names are shared by the other Athabascan-speaking peoples. The name of "Child
of the Waters" apparently derives directly from the one of the Hindu god
called Apam Napat, which means precisely the same thing in Sanskrit. Apam Napat
is an alias of Varuna, the Vedic archetype of Poseidon and Neptune. And Agni is
the fiery avatar of Shiva, often called by names such as "Killer of the Enemy
Gods" in his terrible avatars such as Yamantaka ("Killer of Yama"),
etc.. In other words, Amerindian Religion in general, and the one of the Navajos
in particular, directly derives from Hinduism.
The enemy gods are the monsters that inhabited primordial earth,
and which rendered it unfit for human occupation before they were exterminated
by the Twins. Most such monsters are cannibals like Big Owl and Kicker-off-the-rocks.
Child-of-the-Waters is the junior twin; the helper of his elder bother. His name
is a direct translation of that of the Hindu Apam-Napat, himself an alias of Skanda,
the Hindu War-god. These two should be compared to the Twin War Gods of the Pueblo
Indians, as commented above.
the exploits of the twins
Navajo mythology hinges on the exploits of the Twins in their
quest of the mythical Center of Origin, the Paradise they identify with the Whirling
Mountain at the Center of the World. In certain versions, this Paradise was reached
by a man who went down the Colorado River inside a hollow log. This myth can be
understood in the light of similar South American Indian myths. The hollow log
is really a giant serpent (Anaconda) which is a sort of submarine, inside
which they came out from their underwater primordial abode. In other words, the
hollow log is an alias of the Ark, which is often likened to a giant serpent both
in the New and the Old Worlds.
South American Indian mythology is presently far more complete
than that of the North American Indians, for down here many tribes still survive
in their pristine state, and have not yet been acculturated or eliminated by the
missionaries and other white influences. But an in depth study of South American
mythology clearly displays a fundamental identity with that of their northern
brothers, particularly insofar as the myths of origin are concerned.
the death and resurrection of wiyot
The Pueblo Indians and the Luiseños turned migrants in
imitation of the Twins. They thus attempted to reach the Center of the Earth where
their god, Wiyot, had hidden himself after he died. Wiyot was the first of all
men to die. And his death taught his people the example. In fact, Wiyot later
resurrected as the New Moon, and became immortal.
The example of Wiyot is literally copied from the Hindu one
of Yama ("twin"). Yama is an alias of Varuna as the lesser of the two
Twins. Indeed, the stories of both Wiyot and Yama anticipate that of Christ, who
died and resurrected in order to teach his worshippers that it can be done in
practice. The death and resurrection of Wiyot is an instance of those of the so-called
Vegetation Gods of the Old World. To this famous confraternity also belong gods
and heroes such as Tammuz, Attis, Adonis, Agdistis, King Arthur, Hercules, and,
of course, Jesus Christ, Osiris and Dionysos.
Actually, these myths all derive from the famous Hindu one of
Yama and Yamantaka, the twins who are themselves the personifications of Death
(Yama) and the Defeater of Death (Yamantaka). What the story of Wiyot is indeed
telling is that the elder, the Solar Twin, dies and resurrects as the lesser one,
the Lunar Twin. In other words, what we have here is the alternance of the eras
and that of the ruling and ruled races with the passage of time.
Even Plato seemed to believe in this concept, as he held that
we are sequentially born as males and females (i.e. Solar and Lunar), in successive
metempsychoses. Apparently, victims and oppressors also change places. As one
philosophical Indian once said: "When we were on top, we stepped on the necks
of the whites. Now they're on top, and it is their turn to step on ours instead."
the primordial migration
The migrations of the Luiseños, the Apaches and the Pueblos,
recall the identical ones of the Tupi-Guarani Indians of Brazil. Even before the
Portuguese arrived here, they knew their world was doomed. So, they started migrating
to the coast, awaiting for the Saviour that would lead them safely across the
Ocean, just as Moses, Christ, and other such Tirthankaras ("Ford-makers"
or, rather, "Saviours") had done in Primordial times.
This mass migration precipitated the downfall of the once mighty
Tupi-Guarani nation. Out of their own bases, these Indians became an easy prey
for the Portuguese invaders, who cornered them against the seas, and killed them
off through starvation and purposefully spread diseases such as smallpox and syphilis.
All this is more or less what happened in North America, except that in a far
larger scale there, where the genocide was conducted by the government itself.
The pungent story of the Tupi-Guarani migrations in quest of
their Paradise, Yvymaraney (or "evil-less land"), is one of the most
touching dramas of the Amerindian saga in the three Americas. We have told this
sad story elsewhere, and will not return to it here. Suffice it to say that
the pilgrimages in quest of Paradise and the Holy Land are perhaps the most prevalent
of religious rituals in the world. [LINK to site article: the Origin of
the Seven Sacraments].
Pilgrimages are done by the Hindus and the Arabs, as well as
by the Jews and the Christians alike. Pilgrimages are a sort of ritual return
to Paradise. Phony heroes seek to return to phony, purely spiritual Paradises,
whereas true Heroes like Alexander, Aeneas, Ulysses, Osiris, Hercules, Dionysos
and Gilgamaseh seek for the true site of the Terrestrial Paradise. And this they
invariably do, just as their New World counterparts, by crossing to the Indies,
as we can read in the ancient sagas, once they are correctly interpreted, in
the way we expound elsewhere. [LINK: to my article on The Itinerary of
The first Europeans in America emphasized the differences and
the "savagery" of the Amerinds as an excuse to force them into submission
and slavery, and in order to be granted royal and papal permission to steal their
land and property and to disorganize their nations and their religion so as to
make that endeavor easier. Thus deprived of their values, the acculturated Indians
became an easy prey of the bestial conquistadors, the robber-barons and the colonists
who inevitably follow the missionaries everywhere they show up among the primitives.
You know how it is: send the missionaries first. If they fail
in the task of destroying the social structures of the natives and in "converting"
them a sure sign of their pact with the Devil send in the soldiers
and punish the rebellious savages, and to force them into complying. Once their
culture and their religion and social structure are disrupted, send in the colonists
to take away their land, their property and even their very humanity, through
enslavement and sheer genocide. Look into History, and you will see that this
sad reality is the rule rather than the exception everywhere the white races have
come in contact with our darker brothers in this wide world of ours. And, in more
ways than one, the present pseudoscientific paradigm that Amerindian civilizations
developed autochthonously (and hence outside Christ's redemption) is an outgrowth
of the conquistador spirit surviving in disguise inside the Church and the Academia.
the meaning of drug cults
The North American Indians have a form of Holy Communion known
as Peyotism. This form of cult is widespread and uses a hallucinogen drug
called peyote or mezcal, brewed from the buttons of a cactus. Similar drug cults
based on this type of communion exist all over the Americas, the Amazon region
included, where it is known as Santo Dayme. The Indians claim that there are
two forms of communion, one made of white bread for the Whites, and one made of
ruddy drugs such as peyote for the Reds. [Link to: site article on: Origin
of Seven Sacraments]
Like the Luiseños and the Mezcalero Apaches, the Pueblos
and the Navajos also often adhere to Drug Cults. These are based on hallucinogens
such as the sacred mushroom, the peyote and the mezcal. Indeed,
most Indians use one type or another of drug-induced ecstasy, in order to enhance
their mystical union with God. Even today, all sorts of Drug Cults exist in way
or another all over the Americas, despite their ferocious persecution by the white
authorities, who deem them a threat to their authority. And this is indeed a fact,
since drug cults are a way to stick to the old Amerindian values.
Such was also the original purpose of the Holy Communion
of the Christians, [LINK TO: Article on site: Origin of the Seven Sacraments]
where wine (a hallucinogen) substitutes for other drugs. All such rituals ultimately
derive from the Soma rituals of the Hindus, as many specialists have recognized.
Soma was prepared from many plants such as hemp, mezcal, mushrooms, asclepias,
opium, etc., as well as from animal poisons obtained from toads and snakes. It
is of course no coincidence that the Christian Communion is also made in two species,
bread and wine. And these two species, one white (bread), the other red (wine),
in fact symbolize the two races from which the two moieties of Atlantis were composed.
[FOOTNOTE: As we explained above, the name of the Yavanas
(or Aryans) derives from the Skt., and generally means "grain", wheat
or barley or perhaps rice. This is connected with the Great Mother (Hawwa) and
with the sunken continent in Indonesia (Hawaiki or Javaiki), formerly called Java,
like its insular remainder. So, the roasted wheat (bread) represents the Aryans
and, even more literally, the fact that they were charred by the volcanic conflagration.
This is why they were later named Ethiopians ("Burnt Faces") and Chams
("Flaming, Fiery"), and became associated with the red color, their
heraldic attribution, even in the Americas.
Their ruddy color (redheads) also helped. In fact, the Yavanas
comprised all Aryo-Semites, and included peoples such as the Tocharians, the Phoenicians,
the Amorites, whose names mean "red". When they parted company, after
the Great War of Atlantis, one moiety became the Aryo-Semites ("whites")
and the other one became the Dravidas ("reds"). One moiety worshipped
the Great Mother (Hawwa, Java, Jahveh = Javanas = "White") and the other
one the Great Father (Adam = Edom = "Red"). They also divided the world
between themselves, the Eastern Hemisphere to the Reds, the Western Hemisphere
to the Whites, a covenant which prevailed until the unfortunate "discovery"
of Christopher Columbus, bent on christianizing the Indians while alleviating
them of their life and property.]
Drug cults were generalized in the whole ancient world as well,
as archaeological research is unequivocally uncovering. Even the Egyptians were
apparently addicted to such rituals. A
recent study of several Egyptian mummies by the meticulous Germans unmistakably
revealed that the Egyptian pharaohs routinely used drugs such as hemp, opium,
tobacco and coca. Now, hemp is an Indian plant, whereas tobacco and coca are
of South American origin. So, this evidence unmistakably shows the existence,
in prehistoric times, of a somewhat intensive trade between the Americas and the
Old World, one which also included the Far East and, apparently, Oceania as well.
Opium was usually produced in the Near East and the Far East,
and was relatively easy to obtain, for instance via the Silk Road. But what this
remarkable research unequivocally discloses is the existence of an ancient international
naval trade in drugs and medicines (and other goods as well) throughout the entire
world, and encompassing principally the East Indies and the Americas in its routes.
This traffic was of course kept secret for various reasons, one such being the
need to keep the competition away.
Another often-used hallucinogenic drug is datura or jimson.
This is also called loco-weed or thorn-apple (Datura stramonium). The datura
is common to both the Old and the New World, and is also widely used in India
for the same ritual purposes as in the Americas. Jimsonweed is particularly popular
among the Chungichmich of Southern California, and is much used in initiatic rituals
involving nagualism and shamanism. It is clear that the habit of using datura
in drug cults somehow passed, at a very remote date, from the East Indies, where
it originated, to the distant Americas. Not impossibly the plant, a pest, was
brought from the East, and spread in the Americas like a plague.
Peyotism is based on the peyote (or mezcal) cactus (Lophophora
williamsii), native to Mexico. In the US, Peyote is eaten in a communal meal
that closely resembles the Holy Communion of the Christians, which it apparently
parallels. Indeed, modern Peyote religion actually claims that Christ instituted
the "White Communion" to Whites and the Peyote (or "Red")
Communion to the Reds. Interestingly enough, the ancient Hindus also spoke of
two similar types of Soma Communion, one "red" (or "golden"
or "Solar"), and the other "white" (or "silvery"
or "Lunar"). And so did the Essenians and other Gnostics, who often
engaged in drug rituals, often orgiastic and generally based on the Sacred Mushroom
Peyotism has been forbidden or, at least, persecuted,
since early times in the Americas. In 1620, the Inquisidor General of New
Spain forbid the use of peyote by all Christians, a fact that meant that those
caught in the practice were not Christians and, hence, liable to prosecution and
burning-at-stake for heresy or witchcraft or both. As recently as the late 1960s,
Peyotism was still outlawed in several regions of the United States of America.
The name of the peyote derives from the Nahuatl peyotl
meaning "divine messenger", which is more or less synonymous with "Angel
(or Envoy) of the Lord". In other words, Peyote is the "Christ",
the Messiah (or Emissary) sent down to the Indians as the Celestial Messenger,
the bearer of the Good News of the Gospels. More exactly, the god Peyotl is the
Third Coming of the Saviour so ardently expected by the Gnostics and the Mystics
everywhere, the Troubadours and the Knights Templar in particular. When he comes,
shortly, he shall bring the Celestial Bread to all humans, the white one to the
Whites, and the red one to the Reds, in fair, equal shares for all of us humans.1
the great mother, venus and nagualism
In Navajo mythology, the Great Mother is called Changing Woman.
Changing Woman represents the Earth. And her name refers to the idea that our
planet periodically sloughs off its old skin (the crust) like a serpent, being
reborn as fresh and virginal as a young bride. This motif is ritually enacted
in Navajo dances and chants of an initiatic character. We find a similar belief
in the Old World, for instance in the myth of Hera and the periodic renewal of
her peplos or vest, as told by Pherecides of Syros and other Greek mythographers.
Even the motif of the serpent shedding its old skin is widespread in the Old World
and is told, for instance, in the Epic of Gilgamesh, among many.
This periodic renewal of the world is connected not only with
the daily or the yearly ones, but with the eras of humanity dictated by the Precession
of the Equinoxes, according to a widespread belief. In other words, Changing Woman
is the same as the Nagis ("Serpent Women") of the Hindus, and her myriad
counterparts such as Mélusine, Kokilan, Ganga, the Queen of Sheba, Echidna,
etc. All of these goddesses symbolize the renewed earth, purified by the recurrent
cataclysms which periodically ravage the earth, leading to new geological eras,
in an unending succession. It is in this sense that they are often represented
as snakes, due to the fact that these animals shed their old skins, and become,
at least in myth, rejuvenated in the process, more or less like the serpent of
the Epic of Gilgamesh.
[Footnote to insert here: Interestingly enough, the Ice
Ages are believed, by scientists such as geologists and climatologists, to be
dictated by the Precession of the Equinoxes and other similar astronomical phenomena,
via the so-called Milankovitch Theory. Did the ancients (Atlanteans?) perhaps
guess the same things as our scientists do, in their obsessive attachment to long
range phenomena such as the Precession of the Equinoxes, which they managed to
measure with an amazing accuracy both in the New and the Old World, for instance
in Egypt and in Mexico? In fact, the coming and going of Ice Ages seems to
be dictated by geological phenomena such as volcanism, as we argue in detail elsewhere
[LINK: to my article: Volcanoes - Internet]. So, if real, the connection between
Ice Ages and astronomical ephemerides such as the ones just mentioned is at best
flimsy, and has not been unequivocally determined so far by anyone.]
As is clear, Changing Woman is also Venus, reborn afresh from
the froth and blood of the castrated phallus of Ouranos thrown down into the Ocean's
waters by Kronos. Indeed, as we argue elsewhere, Venus is the alias or replica
of the Hindu goddess Lakshmi (also called Shri), from whom her myth was copied
by the Greeks, in remotest antiquity. Shri was born, exactly like Aphrodite-Venus,
from the froth engendered at the occasion of the Churning of the Ocean of Milk.
This froth was generated in consequence of the dispute between the gods an the
devils (devas and asuras) for possession of the Elixir of Life,
To put it simply, all these myths allegorize the earth as a
woman of a somewhat fickle, unpredictable temperament, more or less like explosive
volcanoes. When she is calm, she is a loving mother, bountiful and often prodigal.
When she gets enraged, however, she explodes, and may even swallow her children
and her lovers, as many goddesses have done. In fact, the above snake-goddesses
like Mélusine are all lamias and she-vampires, and hence extremely dangerous.
But when she bathes herself (in the Flood), she becomes beautiful again, and quite
calm, and resumes her normal self. As is clear, the myth of the prodigal earth
which devours its own children (Num.
the one of Eden, as the passage states, is a land full of volcanoes, like the
one of Indonesia, where these fearful geological features abound.
[Footnote to insert here: The idea seems to be the one
of the earth opening up in a giant chasm, like the giant calderas of the Toba
volcano or the Krakatoa. This event is often allegorized as the Primordial Castration,
as we already argued. In fact, the Bible is full of allusions to events which
can only be interpreted as explosive volcanisms such as the ones typical of Indonesia.
One masterful description is the one of Joel
2:1. Here, a nuée ardente of giant size is unequivocally described.
It is vividly allegorized as an all-devouring fire which progresses like a cavalry
charge, passing over all obstacles in unison. Moreover, it darkens the sun and
the moon, burns up the grass and forests, passes over streams without halting,
leaps over walls, enters windows, causes earthquakes and thundering noises, etc..
Barring giant asteroidal falls and divine intervention, what else could this sort
of thing be but a giant volcanic conflagration? And Joel too equates this land
to the Garden of Eden, which he mentions specifically. The passage of Numbers
just linked also refers that the land in question is the one of the Nephelim,
the Fallen Giants who are no other than the decayed Atlanteans. Joining all the
facts, it is difficult to think of another site than Indonesia itself, the true
site of Atlantis,as we have been arguing for two decades now.]
the primordial castration and the universal twins
As we argue in detail elsewhere, [LINK: to Origin
of Seven Sacraments] these mythical "castrations" in fact refer
to volcanoes such as the Toba and the Krakatoa blowing their top and sinking away
into their enormous calderas, and hence changing from a phallic shape into a gynic
one, and generating a lot of "froth" (pumice stone) in the process.
Again, this churning is a clever allegory of the destruction of Paradise by
the giant volcanism [LINK: to my article: Volcanoes - Internet]
This giant volcanism changed Mt. Atlas from a volcanic peak into a giant submarine
caldera, as we explain next. This event is also allegorized, again in beautiful
images, the "Primordial Castration" of the Holy Mountain of Paradise
and its fall into the Ocean, and the rebirth of the renewed Paradise of the subsequent
Another similar allegory is the one we mentioned briefly further
above, concerning the myth of the Fallen Sun, who is also the Primordial Castrate.
The former Sun (male) falls down into the seas, and is reborn as the New Moon
(female). That means he is the alias of Venus or, yet, of the renewed Earth and
the rejuvenated Great Mother that reappears as her own daughter, the Virgin (Kore,
etc.). Interestingly enough, the birth of the Navajo Twins is also attended by
foam which, as we will see below, has a deep esoteric significance, being indeed
the "froth" generated by huge volcanic eruptions of a rhyolithic nature.
According to the Male Shooting Chant of the Navajos,
the Twins were born from Changing Woman, and were fathered, sequentially, by Dripping
Water and Sun. Most mythical Twins are born thus, fathered by two different fathers.
A well-known case is that of Hercules and Iphicles, successively fathered by Zeus
and Amphitrion. Likewise, Cain and Abel were also born of Eve, fathered, respectively,
by both God and Adam (Gen. 4:1-2; the passage is obscure, but the implication
is obvious). Indeed, even Jesus Christ and his Twin (Thomas Didymus) may have
been bred this way.
As usual, this double impregnation scheme is of Hindu origin,
and is instanced, f. i., in the miraculous conception of Krishna and Balarama
and that of the Ashvin Twins. Several apocryphal gospels tell, often in allegoric
but unequivocal terms, of the dual paternity of Christ and his many-named Twin
who is the adopted god of Gnostics everywhere. The two fathers are either Joseph
and the Angel or the Holy Ghost and the Father, or even Joseph and a mysterious
Roman legionary called Panthera. In every case, the myth is the same in its esoteric
the regaining of youth
In one Navajo sacred dance, Changing Woman, old, decrepit and
feeble, is led through the four different stations of a ritual sand paintings
and regains her youth, finally coming out as fresh and as virginal as the Earth
in springtime. Apparently, she is reborn as a male, the Junior Twin or as his
twin sister, the Virgin. Junior is far more than just a companion and mate to
the Elder Twin. He/she also seems to be his lover as well. This is evidenced,
for instance, when Changing Woman completes the change, and sings:
Changing Woman's child I have become,
With him I go, being restored to youth,
According to beauty I walk.
All is in accord again,
All is in accord again,
All is in accord again
All is in accord again.
the navajo twins and their old world counterparts
The Navajo Twins also evoke Amphion and Zethos, the builders
of the walls of Thebes, in Greek mythology. Amphion was rough and brutal and gigantic
like Slayer-of-alien-gods, whereas Zethos was slight, gentle and charming like
Child-of-the-waters. The elder twin was born "somewhat precipitately, to
the sound of thunder", whereas the younger twin was born "mildly to
the accompaniment of gentle thunder".
Their exploits are also treated in far more detail in those
of their counterparts among the South American Indians. There, the twins are called
Nanderikey and Tiviry by the Apapocuva Guarani, names that mean, respectively
"Our Lord" and "Twin". The Twins are also worshipped by the
other South American Indians, who call them by equivalent names.
As we said above, some Amerindian tribes make the second Twin
a female, as is the case of Jurupari and Romi Kumu. These two are, respectively,
the Great Father and the Great Mother of the Barasana Indians. Among other Brazilian
tribes, for instance the Ava-Katu-Etê and the Aché, the Twins are
identified to the Sun and the Moon, and are actually called Kuaray ("Sun")
and Yacy ("Moon").
The Primordial Couple of the Barasana Indians of Brazil also
closely recalls Yama and Yami, their Hindu equivalents and archetypes. These names
mean, respectively, "Male Twin" and "Female Twin", and their
myth and role is highly complex in Indian mythology. An even closer parallel with
the Barasana Twins is afforded by Shiva and Brahma. Both gods end up by being
castrated, like Romi Kumu and Jurupari. This event takes place repeatedly in different
occasions, during which, in alternation, one of the Twins plays the female to
the other Twin. In this way they engender Humanity and, indeed the whole of Creation.
Even in Christianism, things apparently accord to this scheme.
The figure of Christ's twin is often the one of the Beloved Disciple. This personage
is often confused with St. John the Baptist, with St. John the Evangelist, with
Thomas Dydimus ("twin Twin") or even Judas and Mary the Magdalene. For
Gnostic figurations such as the famous one of Leonardo da Vinci, St. John the
Baptist is traditionally painted as an androgynous personage, charming and effeminate.
As we point out elsewhere, the "twin" figures of Christ
and John and the peculiar circumstances attending their engendering, their birth
and their childhood were copied verbatim from the Hindu Gospels of Krishna and
Balarama. Even the puzzling detail which the Hindus call samkarshana
the mysterious trading of wombs from one Virgin Mother to the other is
not lacking in the Christian version. Actually, these mysterious events are allegories
of the Paradisial events having to do with the Mass (Missa) and the Messiah,
as discussed in the previous footnote. But this theme cannot be treated in more
detail here, for certain things may not yet be disclosed in public.
[Footnote: John is the "Beloved Disciple",
and the Gospels are full of hints they are indeed lovers. If so, the two correspond
to the twins of all mythologies, usually lovers of each other. One should not
adopt a prudish attitude or be shocked by such relations. After all, myths are
only allegories. In fact, the Twins personify the twin volcanoes of Indonesia,
the Toba and the Krakatoa. Toba collapsed, and turned into a giant caldera, the
Cosmic Yoni. The Krakatoa, in turn, remained a peak, and was hence long equated
to the Cosmic Linga, until it too collapsed and became a yoni. Hence the confused
serial castrations of Hindu myths or those of the Greeks, for instance the myth
of Agdistis and Demeter or the ones of Kronos and Ouranos. >>>
Far from obscene, the symbolism of the Yoni and the Linga are
the most sacred symbols of the Hindus. In fact, they closely correspond to the
Crucifix of Christians, where the horizontal corresponds to the female principle,
whereas the vertical one represents its male counterpart, the phallus. It is sobering
to realize that, after all, our own myths are, like those of the Primitives everywhere,
no more than allegories of volcanic events, long equated to divine manifestations
(theophanies) by the ancients. Thus, Jahveh manifests himself to Moses as a fiery
volcanic conflagration of the Holy Mountain (Mt. Sinai), in a way no self-respecting
volcanologist will fail to identify as a volcanic eruption poetically described
by a primitive people. And if gods indeed exist, wouldn't they choose to manifest
themselves in volcanoes, perhaps the most awe-inspiring events we humans know
about, even when watched from afar? Read the Bible under that light, particularly
passages such as the ones above or others on the Day of the Lord, and see for
yourself if all this "fire and brimstone", if at all real, do not come
from volcanoes, perhaps stirred into action by the resident deity, as the ancients
so firmly believed.]
the six veils of amerindian myths
The Navajo Twins were born in a mysterious spot, covered by
six successive veils: darkness; the blues skies; dusk, dawn, mirage and heat.
They were reared by the doorkeepers of Changing Woman, Bear Man and Rattlesnake
Man. These two doorkeepers apparently correspond to the Polar Constellations of
the Lesser Bear and Draco, whereas Changing Woman herself corresponds to Lyra,
the third Polar Constellation, which is the female counterpart of the other two,
But we should never forget that the Celestial constellations,
just as the personifications of the Heroes and Gods are no more than allegories,
symbols and metaphors that stand for an ulterior Reality. This is a complex subject,
whose discussion does not fit here, and which has been examined by us elsewhere.
It has to do with the alternation of the Eras of Mankind and the sharing of the
single phallus between the two deities, who trade roles and sex this way.
Hence, they are neither volcanoes, nor stars, nor planets, nor
the sun or moon or earth, nor the wind or the sea or rainbows and, even less,
humans or heroes, godly or not. In fact, they are all this. All these things are,
in the minds of the primitives and mystics everywhere, divine manifestations,
facets of the deity, sparkles of lights akin to the ones of diamonds and pearls.
Of course, the more forceful manifestations are the most imposing, and angry gods
are wont to manifest themselves in a way that makes their presence felt for quite
some time: the major cataclysms that have affected the world. And the last one
of these the one which is best remembered in myths everywhere was of course
the catastrophic ending of the Pleistcene Ice Age.
Of course, the stellar images are just allegorical, as indeed
are the personifications and the luni-solar avatars of both Gods and Heroes. All
such, are indeed personifications of nations, races and peoples that fashioned
human history and are considered to be our mythical Ancestors. More exactly still,
the Twins personify the twin Atlantises, the two Paradises where humanity originally
arose and evolved, becoming civilized, and reaching a spiritual and technical
development that we are still, despite all our arrogance, incapable of even dreaming
about. When we grow up as much as they did, we can perhaps become gods and angels,
as Pythagoras said we could.
The essence of myths, the secret to their understanding, is
the free use of metaphor. Nothing is ever told directly,but invariably by the
free use of images of all sorts: allegories, parables, riddles, wordplays, puns,
enigmas, paradoxes, and so on. Christ himself warned us that his words are but
"riddles and enigmas" that have to be deciphered before they can be
understood. The very word "myth" is related to the Latin minto
("I lie"). But far from sheer fable, myths are encoded history. The
true history of Atlantis, its rise, and its fall. And it is thus that they are
to be understood, at least insofar as History itself is concerned. Of course,
holy books such as the Bible, the Quran and the Rig Veda have a
message for each and every one of us. They work at several levels, according to
the 48 Sciences: Magic, Alchemy, Psychology, History, Astrology, Music, Poetry,
and so on.
the mysterious exploits of the navajo twins
The Navajo Twins are usually referred to as Firstborn and Secondborn,
a standard designation of the Twins everywhere. Soon after their birth
they grew up in a few days the Twins set out to search for their father,
the Sun, in order to be granted powers. Their way is long and difficult, and fraught
with dangers posed by all sorts of monsters and perils, which they conquer.
This tale closely resembles the one of the Mayan Twins, told
in the Popol Vuh, concerning the return of their Twins to Xibalba, the
mysterious Land of the Dead. The Land of the Dead is indeed Paradise Destroyed
and, more exactly still, sunken Atlantis, the former Island of the Sun. This story
also closely evokes the one of Phaeton's pilgrimage to the Sun's palace so masterfully
told by Ovid (Met.
1:746). Here the boy apparently disputing with his "twin"
(Epaphus), as usual, heads for Ethiopia and the Land of Sunrise which is
of course no other than Indonesia, where else?
Plato tells us, in his Timaeus
(22c), that the myth of Phaeton and the fall of the son of the sun is indeed
an allegory of destructions such as the one of Atlantis, which periodically afflict
the earth. So, the connection here is as direct as myths can be, as this is the
dialogue where Plato is disclosing the secret of Atlantis and its destruction
by a volcanism. Interesting as this story is, it seems to come from India, where
it is told by Ananda Coomaraswamy (A. K. Coomaraswamy, Sr. Nivedita, Myths
of the Hindus and Buddhists, London, 1967). In this version, the boy, the
son of the sun, becomes the Pole Star (Dhruva), because of his constancy. But
the story is clearly the same, under a slightly different allegory.
In order to get there, the Navajo Twins rode a rainbow, which
magically transported them across the skies. Successively, the Twins meet Spider
Woman, Clashing Rocks, Cutting Reeds, Burying-sand-dune, and finally reach the
Sun's house. There they are resisted by the Four Guardians: Bear, Rattlesnake,
Wind, and Thunder, who are appeased when they state their respective names. The
Sun, at first, fails to acknowledge the Twins as his own children, and attempts
to kill them. But after several unsuccessful attempts, the Sun finally recognizes
his children in the two valiant boys. He renders them invisible and immortal,
"after his own image", rendering them "holy forever".
[Footnote: The rainbow is an usual allegory of a ship,
possibly because of its cup-like form. So is, by the way, the Rainbow Serpent,
both in the Americas and Oceania (Australia, etc.) and in the East Indies (Angkor,
etc.). Likewise, the sun or his son (Phaeton) are usual metaphors of a volcano.
Very often, the sons of the sun are twin (the Navajo Twins, etc.). In the Mahabharata
(1:33), Kunti gives birth to the Son of the Sun, Radheya, the noblest of heroes.
This birth is virgin, as is so often the case with this type of hero. The Pole
Star, also often twin (North and South Stars), is another usual allegory of the
son (or twin sons) of the Sun. So are the Morning and the Evening Stars.
This type of story is often garbled, as is the case of Christ
and John, of Krishna and Balarama, of Hermes and Apollo, of Phaeton and Epaphus,
of Castor and Pollux, of the Ashvin Twins, Mitra and Varuna, and so on. The case
is the same in the Americas, witness the twin heroes of the Mayan Popol Vuh
and many others such. Christ himself is often identified to the Sun (Sol Invictus)
and to the Pole Star or Morning Star, clearly in the same context. Of course,
the Pagan legend may have been accreted to his name, though I fear he indeed is,
as some say, purely a Solar Myth, who never existed at all. No matter what, it
seems the Twins of all traditions indeed represent the twin volcanoes of Indonesia,
the ones which were indeed the archetypes of the twin Pillars of Hercules, as
we argue in detail elsewhere.]
the twins as monster-killing heroes
The Sun also gives his sons lightning bolts for weapons. These
weapons were capable of killing all sorts of monsters, former children of the
sun himself. The Twins then return to earth, falling from the skies "like
lightning bolts". The place where the first twin landed became known as "Like-zigzag-lightning-he-came-down",
whereas that of the second twin was named "Let-down-on-a-sunbeam". These
"descents from heaven" in the shape of lightning bolts are avatars,
a Sanskrit word meaning "falling star" and, more exactly, implying the
fall of the vajra. We see in those falls the explosive eruption of the
twin volcanoes which destroyed Atlantis, one at its start, the other one at its
end. The Atlanteans, turned demonic after the Fall, are the "monsters"
in question here.
The fall of the Navajo Twins is quaintly reminiscent of those
of Christ and of Lucifer, the Twins of Judeo-Christian traditions, to which we
return further below. Diodorus Siculus also tells an intriguing story of Atlas
and Hesperus obviously allegorized as the twin Morning Stars (Phosphorus
and Hesperus) which he identifies with the destruction of Atlantis (Hist.
Lib. 3:4) in a (purposefully) confused way. The story closely parallels the
fall of Lanka and other similar Hindu traditions. But his narrative is too obscure
to treat here, so that we head the interested reader to the masterful discussion
done by Lewis Spence in his The History of Atlantis (N. York, 1968, pg.
24) or my ones, done in detail elsewhere.
Upon their return, the Twins start killing off all sorts of
terrible monsters: Giant Monster, Burrowing Monster, Kicker-off-the-Rocks, Tracking
Bear, Kills-with-the-eye, Walking Rock, etc.. Next, the Twins set out again from
their mother's house, leaving behind their own counterparts in the persons of
Holy Man and Holy Boy.
The Twins successively go to Trembling Mountain, Whirling Mountain,
Mountain-Fallen-Away, Striped Mountain and Coiled Mountain, where they learn the
magic chants and the magic diagrams (sandpainted) from various local deities.
These five mountains are all holy. They closely correspond to Mt. Meru and its
four flanking mountains, which are the sites of the Hindu Paradises, as we shall
see further below. As such, the five mountains which form a quincunx like
the Hindu and the Pythagorean ones are endlessly portrayed in the Navajo
sandpainted mandalas which we will be discussing further below.
the conquest of the elixir and its old world parallels
Finally, the Twins are given the Elixir, called "Old-age-restored-in-beauty".
This they give to their mother, Changing Woman, in order to make her young again.
After her change, Changing Woman is made to move out to a place "near Canyon
de Chelly" (the Navajo Indian Reservation in Arizona), forced out of her
pristine home by the Twins and other gods.
As is clear, Changing Woman represents the Indians (Navajos)
chased out of the Primordial Paradise by encroaching nations, including their
own offspring. Most of the features in the Navajo myth of the Twins can be traced
back to the Old World, as well as to South America and other places. For instance
the Clashing Rocks are the same as the Symplegades of the Odyssey and
the Argonautica, and also have counterparts in South America, in the Yvymomó
of the Apopocuva Guaranis, not to mention the other Indians.
It is impossible to read the relation of the adventures of the
Navajo Twins without noticing the fundamental parallelism with the similar deeds
of Old World Twins and Giant-Killers. In particular the adventures of the Amerindian
Twins closely correspond to those of Krishna and Balarama of Hindu traditions,
of Gilgamesh and Enkidu of Sumerian myths, or the ones of Horus and Seth in Egyptian
mythology or, yet, those of Atlas (or Orion) and Hercules in Greece or of Thor
and Odin among the Scandinavians.
In fact, all these myths derive from a single (Atlantean) source,
which was endlessly copied and adapted by each nation along the centuries, and
came to form the base of their religion, again of Atlantean origin. It was also
thus that the myth of the Twins entered Christianism in the dual figures of Christ
and the Antichrist(Lucifer), that we mentioned above.
The White Island, which turned into a mountain at night and
grew up into the skies, is visibly the same as the Scylla of the Odyssey,
described in identical terms by Homer. Here, the myth of this island-mountain
has been is blended with the ones of the Leukades ("White Islands")
and of Shveta-dvipa (idem) of the Hindus.
In reality, this lofty mountain is Mt. Atlas or Meru, called
Mt. Cassius (that is, Kachi or "White") in some traditions such
as the Greco-Roman and Phoenician ones reported by Avienus. The dual of the Cosmic
Mountain (Linga) is the Cosmic Chasm (Yoni), figured in Homer as the terrifying
Charybdis faced by Odysseus in his trip to Phaeacia, which is no other thing than
the sunken paradise of Atlantis. In fact, Scylla and Charybdis one a giant
volcanic peak, the other the enormous caldera of a submarine volcano are
allegories of the impassable barrier of the Pillars of Hercules, as we explain
elsewhere in detail.
The Cutting Reeds that reach out to grab and cut up people is
another traditional motif of supreme importance. This legend is connected with
the one of the Sargasso Sea of the ancients which, allegedly, did the same. Ultimately,
the (Phoenician) legend of the Sea of Sargassos derives from the Hindu one of
Nalanala ("Sea of Weeds") and that of Kushadvipa ("the Island of
Kusha Grass"), whose reeds also retained passing ships and dragged them to
the bottom, just as Columbus and his men feared would happen to them in the Caribbean
region they mistook for the one of the Indies, which they indeed intended to reach.
In fact, the above legends refer to the islands and seas of
Indonesia, in reality full of such sandbars and muddy shoals, spiny reeds and
weeds, as we comment in detail elsewhere. And it is indeed in Indonesia that we
find the huge chasm which the Greeks called Symplegades, and which the Hindus
call by the name of Vadava-mukha ("the Mare's Mouth"). The Vadava-mukha
is actually the site of the Krakatoa volcano, which turned into a immense caldera
after the catastrophic explosive eruption that devastated paradisial Atlantis.
This giant explosion spit huge amounts of pumice-stone which
formed enormous floating banks that presented a terrible threat to navigation
in those seas. This happens even today, when the local volcanoes, including the
Krakatoa itself, erupt explosively, spewing out cinders and volcanic bombs composed
of pumice-stone which forms enormous banks that hamper navigation in the local
seas. From the magnitude of the banks of pumice formed by such relatively minor
eruptions, we can imagine the huge size of the colossal explosion that razed Paradisial
the hindu archetypes
The magical rainbow that carries the Twins across the skies
relates to motifs such as the Flying Carpets of Arab legends and the Rainbow Bridges
that access Paradise in Germanic mythology. More exactly, they correspond to the
Rainbow Nagas of Angkor, which serve a similar purpose or, yet, the well-known
Vimanas (or Flying Chariots) of the Hindus. One such is Pushpaka, the giant airship
that transported Rama and his immense armies on their way back from Lanka, the
Paradise they had conquered and destroyed in Indonesia. Lanka is the true archetype
of Atlantis, and it is interesting to find in that war the War of Atlantis
the super-weapons such as Pushpaka and others such mentioned in the beautiful
Hindu saga, the Ramayana.
Pushpaka was the size of a full city, and was covered with many
palaces gardens and fountains, all fully bedecked with precious metals and gemstones
of many colors. Like its Amerindian counterparts, Pushpaka left a track on the
skies with resembled a rainbow or a meteor's track. True or fictional, such flying
chariots called vimanas or vahanas in Sanskrit permeate
Hindu Holy Books such as the Ramayana and the Mahabharata, and
have clearly inspired the other similar traditions like those of the Celts, the
Germans, the Indonesians and the Navajos.
the meaning of the fallen angels
The idea of the Twins falling from the skies like twin thunderbolts
also derives from Hindu traditions. The thunderbolt is really the vajra,
and represents a falling star or, more exactly, a meteoritic fall. We encounter,
as we already said, the same motif in the Bible, where both Christ and Lucifer
"fall from the skies like lightning" (Isa.
etc.). In Indonesian traditions, illustrated in stone in the majestic portals
of Borobudur, it is the Celestial Nagas that do so, and that serve as the
magic rainbow bridge which links heaven and earth. In Vedic India, it is the decapitated
head of Dadhyanch (or Angiras) that falls from the skies thus. In Greece it is
the palladium, and so on.
Dadhyanch is the archetype of the Fallen Angels (Angiras
= Angelos = "Angel") and their many aliases we encounter in
all mythologies. In Celtic mythology or, more exactly, in the Arthurian
Cycle we find this skull, which becomes the vajra, as the emerald
that fell off Lucifer's crown during his Fall. And, as we showed, the avatars
of Vishnu are really allegories of such "star-falls"(ava-taras).
Indeed, as said above, the fall of Lucifer and even the descent of Christ down
to earth (his avatar) is described, in the Bible, as "similar to the fall
of a thunderbolt", an image obviously gotten from the Hindu archetypes just
mentioned, which date from Vedic times.
In the Grail cycle, the fall of Lucifer is modified into the
one of the emerald which fell from his crown. From this emerald, the Holy Grail
was carved, according to Wolfram von Eschenbach. In India it is a diamond, the
one which is indeed the vajra. In other words, Dadhyanch's falling skull is the
vajra. When it falls down into the ocean, it forms the First Land, the
same as the Primordial Hill that rises out of the abyss in Egyptian traditions
and which is often equated to the phallus of Ptah. This becomes the First Land,
the giant Phallus of the World which is also the Hill of Sunrise, where the world
This mountain is also the Holy Mountain (Meru) at the Center
of the World, the one variously called by names such as Golgotha, Calvary, Kailasha,
Qaf, Alborj, Bereshaiti, and others such, all of which mean something like "Skull
Mountain". In Judeo-Christian traditions, it is the skull of Adam that falls
from the skies thus, and that becomes Mt. Calvary (or Golgotha = "Skull"),
as we explain further below. And this is, still, the same as the Hill of Sunrise
represented by the Great Pyramid and its counterparts everywhere, including China,
Indonesia, Angkor, Mexico Peru, Guimar, and so on.
This type of myth is clearly universal. It is also allegorized
as the Fall of the Sun or that of his Son (Phaeton, Apollo, Lucifer, etc.). The
events hidden under such allegories are,at one level, the periodic giant meteoritic
falls which destroy the world, just as they did in the dinosaurs or lifted off
the Moon off the Earth. Above all, they also allegorize the huge volcanic bombs
thrown from under the earth into the skies by the giant volcanic explosions such
as that of Mt. Atlas (the Krakatoa), the very one which destroyed Paradise and
its earlier, mightier counterpart, the Toba volcano, as we argued above.
One type of destruction considered celestial, the other one
infernal. And they take turns in destroying the world, both in fact and in the
ancient myths such as the ones we are commenting here. Such is the reason why
one of the Twins is deemed heavenly, whereas his dual is infernal and even more
fearful due his far more frequent visitations. In the Navajo legend we have the
twin Sons of the Sun falling down from Heaven just as we had the fall of Phaeton
(son of Helios) in Greece, or that of Solar Varuna in India. But, if we look closer,
such falls are always dual and often consist of the fall of the Celestial (or
Solar) Twin and of the ascension of his chthonic dual into Heaven.
The Twins of the Navajos are armed with the thunderbolt (likewise
dual), just as are Zeus and Poseidon (the Thunderbolt and the Trident) or Indra
and Shiva (idem). The gods and heroes of the Navajos, Pueblos and Apaches are
called Kachina. This word seems to be related to the Dravidian Kattiyam
= "clever", "dexterous", "heroic", which implies
the idea of a Hero, that is, of the male engenderer (Skt. gandha).
In other words, the Kachina are the Fallen Angels or
Celestial Messengers (Peyote) who taught the humans all arts and skills and freed
the world from the monsters. Moreover, they also loved and inseminated the daughters
of such monsters, engendering humanity from the semi-bestial apish creatures that
then peopled the earth.
These Fallen Angels are no other than the Atlantean Sons of
God, the Civilizing Heroes that we encounter in essentially all mythologies of
the ancient nations, both in the Old and in the New World. Why would our forefathers
invent such a myth and build their religions around them if they were just a lie,
an invention of some sort? Saviors such as Christ, Mani, Buddha and Krishna among
others, are deemed real, historical personages.
The Saviors of all religions are indeed replicas, real or not,
of the Heroes of old, they too Sons of God by a mortal, and combining both natures,
like Christ and Krishna. When we go back in time, this endless succession of Saviours
ultimately end in Flood heroes such as Manu and Noah, the very ones who founded
the present era. And the Flood is indeed no other thing than the cataclysm that
foundered Atlantis, in the dawn of times. Hence, we see that, in fact, the Civilizing
Heroes are personifications of the Missae (or Messiahs), the Celestial
Messengers who came out from Atlantis, that is, from the sunken Paradise turned
into the Land of the Dead of the ancient traditions.
the island of fire and the island of the sun
The Civilizing Heroes of both the Old and the New World were
the luciferine Dravidas of South India, Burma and pristine Indonesia. This region
was the true site of Eden and, hence, of Atlantis, which now became the vast
sunken continent of now lying on the shallow bottom of the South China Sea and
others in the region.[Link to site article: The True History of Atlantis].
This continent is called Sundaland by the geographers and other specialists, because
it is located on the Sunda Shelf and in the neighbourhood of the Sunda Strait,
the one which now sunders Java from Sumatra.
Though the connection with Atlantis may be denied by some, the
existence of this vast continent may not be doubted, as it has now been mapped
in detail by NASA's and NOAA's spy satellites, able as they are to scan the
bottoms of the seas themselves from outer space. And, as can be seen by a direct
comparison of the map obtained by NOOA, and only recently declassified, and the
map in my site, just linked, and obtained by myself from bathymetric data
then available, some twenty years ago, it can be seen that the coincidence is
most perfect, except for matters of detail.
Moreover, zoogeographers and other specialists have also confirmed
that: "During most
of the glaciation periods, Sundaland was above the sea and formed one more or
less united land mass, while in warmer times large areas were submerged".
In other words, if not Atlantis, the region at least behaved remarkably like it,
even though geologists insist, even today, that "continents cannot possibly
sink"', as I have been told repeatedly. It is all a matter of Relativity.
They can and they cannot. In fact, they cannot, at least under ordinary conditions.
But sea level can rise, and cover them, as was the case in the Indonesian region.
But Einstein and others, Epicurus included, would argue that it is all the same.
And the unfortunate dead in the cataclysm would agree with them, I am sure, if
they could speak out.
But it is time to return to the delectable Twins of the Navajo
traditions. As we said above, the "indigenism" of the Amerindians was,
like their "savagery" and their incorrigible "irreligion",
merely a contrivance of the Whites in order to justify the genocide of their elder
brothers of America, whose land and wealth they burningly coveted. These pristine
"Reds" were the Atlantean Dravidas, the ruddy moiety called by precisely
that epithet in nearly all traditions. And as such, rendered wise by the cataclysm
which destroyed their pristine homeland, they returned to their former piety,
and became far, far more pious than their greed junior brothers.
Eden, the Terrestrial Paradise, was as we just said, indeed
Indonesia and, more exactly, the sunken portion of it which we identify with Atlantis.
In fact, Indonesia is precisely the "Island of Fire" that is so often
associated with Paradise in the ancient Gnostic traditions. Indonesia derives
its name from the Greek Indos-nesos, meaning "Indian island"
or, what is the same, "Insular India". But the word "India"
derives, like the name of Eden to which it is related, from a Sanskrit radix indh
(or endh or edh) meaning "fire".
In a variant, the radix is also related to sindhu, a
word meaning "water, river, flood, sea", in Sanskrit, the sacred tongue
of the region. Since Sanskrit is a polysemic tongue, one where all etyma compound
to tell the whole story, we may freely interpret the name of Indonesia as meaning
"Island of Fire sunken by the Flood" or, alternatively, "Island
sunken by Fire and the Flood". fire and water, as usual. And a telltale name,
So, the true etym (or etymon or etymology) of the name of Indonesia
is "Island of Fire", as we just said. But the above radix is also associated
with the idea of "sun" (Drav. endi, eddi), so that "Indonesia"
is also the "Island of the Sun", another frequent name of Atlantis in
esoteric traditions, for instance, in the
remarkable booklet authored by Thomaso Campanella and entitled precisely the "City
of the Sun".
Campanella places his mythical island, an Utopia like Plato's,
precisely in Taprobane. And Taprobane is indeed Sumatra, rather than Sri Lanka,
as we demonstrate in detail elsewhere. [Link: to my article "The Island
of Taprobane"]. As is clear, these Renaissance guys knew a lot on esoteric
matters we have apparently utterly forgotten. Taprobane-Sumatra, the great Indonesian
island, is precisely the place where we have located Atlantis-Eden. Eden, the
Terrestrial Paradise, was indeed the Lemurian Atlantis that was the Great Mother
of gods and men. Her wonderful "Son" (or "Twin" or "Lover")
was the second Paradise, the second Atlantis, the one described by Plato, which
flourished in the same place during the Ice Age, when it recovered from the cataclysm
caused by Toba's giant explosive eruption of about 75 kya [kiloyears ago].
the meaning of the navajo sandpaintings
We finally reach a position where we can usefully interpret
the Navajo sandpaintings. This sophisticated form of artistic expression they
learnt from the Pueblo Indians, along with the arts and techniques, as we detailed
above. And he Pueblo Indians brought this type of religious symbolism directly
from Eden itself, as we now argue. We hope that, by now, the dear reader who followed
us patiently up to here, is at least half convinced that the Amerindian myths
and religions are essentially the same as those of the Old World, particularly
insofar as the esoteric message is concerned.
And, if our dear readers bear with us to the end of the present
chapter they will, we are sure, be as fully convinced as we were ourselves when
we first discovered the true meaning of Hindu and Amerindian mythology and their
intimate connection with the secret history of Atlantis. This decipherment is
a feat I boast of having done by myself, perhaps for the first time ever, as these
secrets are never told to profanes. So much so, that the secrets having to do
with the reality of Atlantis and its connections with Eden have been utterly forgotten
by all, believers and nonbelievers alike.
Of course, the underlying meaning of the Amerindian myths is
very difficult to penetrate. It is perhaps even more difficult than their Old
World mythical counterparts, at least in our opinion. After all, the Amerindian
myths are, like the ones of the Old World, part of the secret of the Mysteries.
So, if they were easy to pierce, they would be no Mysteries, and would require
no Initiation at all. But, even without fully understanding the inner meaning
of the ancient myths and religious traditions, it is readily apparent that they
all derive from a single, unique source of diffusion.
The agreement in form, in detail and in significance transcends
all possibility of random coincidences. And the forms are so sophisticate, so
close in all details, and so transcendental as to preclude all sorts of collective
archetypes possibly engraved in the human unconscious, in the way proposed by
Jung and Eliade and, a little bit less fancifully, by Freud and his school. In
fact, they all derive from the same archetypes, the same primeval eideias
described in Plato's remarkable Myth of the Cave. They are all congruent, and
they all compound to tell the moving story of Paradise Lost.
The question is indeed one of diffusion, as is visible in the
transference from the Pueblos to the Athabascans (Apaches and Navajos) and in
the other ones mentioned above. In turn, the Pueblo Indians were instructed by
the Mayas and Aztecs; these by the Incas, and the Incas by the Civilizing Heroes
who came all the way from the East Indies, across Polynesia and Melanesia, as
their own legends and traditions tell in detail. In our work on the Mayas, Incas
and Aztecs, we show how these Indians indeed came from there or, more exactly,
their Civilizing Heroes such as Bochica, Sumé, Quetzalcoatl and Kukulkan
indeed did. And these were the Atlantean survivors and their descendants from
the Far Orient.
the hindu mandalas as archetypes of the navajo ones
the figures below we reproduce a few of the lavishly colored sandpainted mandalas
of the Navajos, as well as the even more perfect ones of the Hindus and the Tibetans.
For reasons of space, we are limited to presenting only a couple of such mandalas.
But the interested reader is recommended to pursue the comparison in the references
listed below, or in any others that he may find for himself in the abundant literature
on the subject or, yet, by
following the Internet links given here and here
. 2 [BERNARDO, SE DER, CORRIJA O DESENHO AO LADO PARA
O SINGULAR: "NAVAJO SANDPAINTED MANDALA". E SE DER, ACERTE O TAMANHO
PARA FICAREM IGUAIS. ALIAS, FAZER ISTO EM TODAS AS FIGURAS DUPLAS]
Fig. 2 (a and b) shows the Place of Emergence of the Navajos
as the Central Mountain surrounded by the Four Subsidiary Centers (also consisting
of mountains or islands). These five mountains are the same as those visited by
the Twins, as described further above. The four piled-up triangles at the four
corners represent the succession of the Four Eras of Humanity, with the fifth
being the central one. The five peaks also correspond to the Five Ages of Hesiod,
with the fifth and virtual one, the Age of the Heroes, the one which corresponds
to Atlantis, represented at the center.
Note that the structure in quincunx
is typical of the Holy Mountain Meru
in Hindu traditions which are of an extreme antiquity. As such, it
represents the world with its five continents: the central one at the center
(Atlantis), and the four others at the Four Cardinal Directions. This structure
also represents Atlantis' capital city, itself shaped similarly as a replica of
the world, as described by Plato. This type of structure with its quincunx geometry
and its three-tiered structure is found in Angkor,
typical of the temples and pyramids of Southeast Asia. But it is found in
temples and similar monuments all over the ancient world, for instance in mosques
and in St.
Sophia Cathedral, in Istambul (Turkey), the former Constantinople which was
the capital of the Roman Empire of the East.
These structures all represent replicas of the world and its
Holy Mountain everywhere. To find this sophisticate symbolism in the Americas
is a surprise, as this unequivocally proves that the symbolism dates from before
the end of the Pleistocene, when Old World cultures got separated from those of
the New World, according to the present views of academic archaeologists. How
the primitives of Paleolithic times could have developed such a sophisticate,
accurate view of the cosmos is, in our view, a mystery that can only be explained
by the hypothesis of Atlantis. What else?
Hesiodic theme of the Four (or Five) Eras (or Ages) of Humanity again derives
from the four
Hindu Yugas (or Eras). But the
motif of the four ages of mankind is also widespread all over the Americas,
as we show in other works on the subject. And peoples such as the
Mayas and the Aztecs also divided the cosmos into four corners, more or less
like the Hindus and others in the Old World. Even
the four colors attributed to these four directions white, yellow, red,
black exactly correspond to the Hindu ones. And they, of course, also
correspond to the four types or "colors" of humans, as is easy to see.
The staggered triangles of the Navajo mandala represent the
same symbolism as those of the famous Shri Yantra mandala of the Hindus. They
represent, as shown in Fig. 3, the sequential Creations of the successive eras
emanating like waves from the Primordial Center. The two bindus, white and
red, at the center of the Shri Yantra are Shiva and Shakti, representing the two
original races of Atlantis, whites and Reds.
The explanations given in Hindu sources are of course highly
esoteric, and are accessible to the initiates only. As an example, we quote the
Kamakalavilasa: "The two bindus [of the Shri Yantra], white and red,
are Shiva and Shakti, who in their secret mutual enjoyment are now expanding and
now contracting... the Sun is Kama, which is so called because of its desirableness;
and Kala is the two bindus which are Moon and Fire". Kama, the fiery love
god of the Hindus, is of course the same as Cham, the patriarch of the Chamites
which would later engender the red races, as explained further above. The white,
lunar principle represents the white races. And their endless "love making"
indeed represents the eternal wars of Dravidas and Aryo-Semites, wherever they
meet each other.
gives a further gloss on the Shri Yantra: "Dear One, Tripura is the ultimate,
primordial Shakti, the light of manifestation. She, the pile of letters of the
alphabet, gave birth to the three worlds. At dissolution, She is the abode of
all tattvas, still remaining Herself". Tripura, and the myth of its destruction
is famous in Hindu sacred traditions. Tripura, "the Triple City", is
Atlantis itself which, as Plato explains, was also triple. Here it is said to
be the first, primordial source of all things (shakti = yoni = "womb,
vagina"). The "light of manifestation" and the reference to the
"cosmic womb" allude to the volcano's caldera which engulfed it. The
"pile of letters" refers to the fact that the alphabet was invented
there. The triplicity of Tripura and of Atlantis, refers to the three races and
to the fact that she was the civilization of the Third Era. This was the Treta
Yuga, the one before ours, the Kali Yuga. When Tripura was dissolved (destroyed,
at the end of the yuga), she became the abode of Truth (Tattva). But, of
course, this Truth is hidden, and has to be discovered by oneself, through initiation,
as it concerns the secret doctrines on Atlantis-Eden.
Navajo sandpaintings, the four subsidiary Holy Mountains placed at the Four Cardinal
Directions are often substituted by their Four Guardians. These four are often
figured as snakes or birds, their symbolic equivalents. These Guardians are usually
colored, and the respective heraldic colors are White, Yellow, Red or Blue, and
Black, with the fifth, Pink, included at times. The four colors are those of the
Sun's House, which is the Central Mountain and combines all four colors in either
stripes, dots or superpositions. In reality, they are the colours of the four
races of humans, as we said above.
The four snaky Guardians are the exact counterparts of what
the Hindus call the Four Nagas ("Snake Guardians" or "Dragons").
In India too these guardians called Lokapalas, and represented by snakes
or dragons are often symbolized by their four mountain peaks, completing
the quincunx centered around Mt. Meru. Anyone who pauses to ponder on such exact
coincidences cannot, we believe, come to a different conclusion than that they
indeed originated in India and Indonesia and, more exactly, in Atlantis and Lemuria.
the secret meaning of the hindu mandalas and yantras
The Holy Mountain of the Hindu Paradise is often represented
in even more subtle allegories than the ones above. One such is a famous fretwork
of Hindu origin consisting of a four-pronged star encircled by an octogon or a
circle. The four-pronged star is indeed a pyramid (Mt. Meru) seen from above,
in plant. The four faces of it are indented, as in the Great Pyramid and in that
of Mykerinos, so that the pyramid becomes a four-pronged star. The encircling
octogon or circle represents the circular Oceanus which surrounded Atlantis. The
endless succession of such encircled pyramids represents the infinite succession
of the eras along time.
A very similar motif is the so-called dog-tooth fretwork. It
consists of a repeated series of four-sided pyramids in relief, each having the
faces indented like those of Mt. Meru and the Great Pyramid. The idea is, again,
identical to the above one. One of these mandalas can be seen in the front page
of the Mandalas
on the Web site, and is shown at the side, here. The "diamond" correspond
to the Great Pyramid as seen from above (in plan). Even more exactly, it corresponds
to Mt. Meru, the Holy Mountain of the Hindus which the Great Pyramids and other
such imitated as a replica of Paradise (Atlantis) and its volcanic mountain at
the center.[Bernardo, inserir a primeira mandala do site linkado aqui ao lado.]
Other, similar decorational motifs are used by the Amazonian
and others Indians from South America in their sieves and other basketry. The
colors they use are usually the ones of the Hindu four varnas (red, black,
white, yellow), obtained by using fibers of different colors. Again, their preferred
motifs are those of pyramidal Mt. Meru seen in plant as a four-sided star or a
cruciform mountain. These clever Amazonian designs date from an immense antiquity,
as attested by the ceramics found in the island of Marajó and elsewhere.
Moreover, they closely correspond to similar vase decorations found elsewhere
in the Americas and, indeed, all over the world, as we illustrate in detail elsewhere.
There can be little doubt that this decorational motif represents
one and the same thing and, hence, derives from a single source. In fact, they
are all variants of the mandalic representation of Mt. Meru, the Holy Mountain
of Paradise. And, when we pause to reflect on their meaning, we see the reason
why they are called mandalas or yantras.
The word yantra means "device for thinking"
in Sanskrit, whereas mandala ("wheel ") is indeed related to
the Skt. radix manas ("mind"), and implying the idea of "device
for reminding". In other words, the mandalas or yantras particularly
those of the type called Kalachakra mandalas which we discuss in more detail further
below are devices for meditation on the Paradisial events and, more exactly,
on the destruction and sinking of Atlantis by the memorable explosion of its Holy
The Tibetan monks whose Tantric Buddhism closely resembles
certain form of Tantric Hinduism, from which it derives have a pungent
ritual called "Kalachakra Mandala Ritual".
In the ritual, the mandala, carefully made of sand like the ones of the Navajo
Indians, is ritually dismantled and its sand is placed inside a jar. It is then
carried to the waters of a river (or lake or sea), where it is thrown, as if in
a watery burial. Kalachakra mandalas represent, as we are arguing, precisely
the site of Paradise and its Holy Mountain, as seen from above, in a bird's view.
So, it is clear that this watery burial ceremony quaintly reenacts the pulverization
of Paradise, reduced to cinders by its Holy Mountain, and its subsequent sinking
under the seas, where it disappeared, perhaps forever. So, what, may we ask, can
this lugubrious ritual signify other than the event so vividly described by Plato,
the demise of Atlantis in precisely the same way?
the serpentine rainbow goddess and the ouroboros
Encircled all around the Central Mountain and the four subsidiary
peaks of the Navajo mandala we have the Rainbow Goddess, here figured as
a snake. This Rainbow Snake that encircles the whole Earth is indeed the Circular
Ocean. It is sometimes made double as all things are dual. The Rainbow
Snake of the Navajo Indians closely evokes the Rainbow serpent of the Australian
Aboriginals, clearly derived from the same tradition. And this is, once again
a Hindu one. In Angkor Thom and elsewhere, the Serpent Shesha is also represented
as the Rainbow Serpent. Coiled around the world, the Serpent Shesha represents
the Ocean. Standing upright, it becomes the Pillar of Heaven, its support.
The earth-encircling ocean also has its double (or microcosmic
replica) in the River Oceanus that encircled Atlantis, as well as its many counterparts
all over the world. This replication is easy to understand: after all, Atlantis
was fashioned like a replica of the cosmos itself. The great circle of the Ocean
is also represented as a giant snake (the Ouroboros) in Greek traditions and in
alchemical ones. In the Navajo mandalas, it opens towards the Orient, in an obvious
reference to the Gates of Paradise, which lie towards that conventional direction.
The Circular Ocean is also shown explicitly in the Hindu mandalas of Fig. 3, one
of which is the famous Shri Yantra, in a stylized rendering.
The lotus on top the Holy Mountain of the Hindu mandala of Fig.
3 is indeed the Golden Lotus whose esoteric meaning we examine elsewhere in detail.
The Golden Lotus is indeed the "atomic mushroom" of the giant volcanic
explosion that destroyed the site of Paradise and ultimately caused its sinking
away in the waters of the ocean. This "lotus" is the same as the "Pillar
of Fire and Smoke" that guided the Israelites on their flight from the site
of Mt. Sinai, precisely the same mountain that the Hindus call Meru and the Greeks
called Mt. Atlas, and which they both also place right in the middle of Paradise.
The Circular Ocean is, as we already said, the same as the River
Oceanus that encircled Atlantis, according to the description of Plato and others.
This circular river (or canal, rather) is also a classical feature of the traditional
descriptions of the Hindu Dvipas (Paradises). It was, just as in Greece, also
the circular river of Hades which the Greeks equated with the Styx and the Hindus
with the infernal Vaitarani, for sunken Atlantis veritably turned from Paradise
mt. meru and the whirling mountain
Anyone familiar with Hindu mythology will immediately recognize
that the above Four Colors Red, White, Yellow, Black are those of
the Hindu varnas (or "castes"). And, in fact, these four colors
represent the Four Races of Mankind, which originated in Paradise, at least, according
to tradition. The arrangement of the Central (or Whirling) Mountain surrounded
by four subsidiary peaks in the Navajo sandpainted mandalas also corresponds to
that of Mt. Meru, flanked by its Four Guardians and their corresponding four subsidiary
mountain peaks. In India, as with the Navajos, the Four Guardians are also represented
as either gods (Lokapalas), mountains, snakes (Nagas) or birds (Garudas). The
Guardians are their Totems or Naguals, which are frequently represented by the
animal shapes assumed by them.
Moreover, each of the Four Hindu Guardians is also associated
with a heraldic colour, in exact correspondence to the Navajo ones: White, Yellow,
Black and Red. Red is the color of death and bloodshed, representing the warrior
caste. This is symbolically equivalent to purple or blue, the color associated
with death by asphyxia (drowning, hanging, etc.). This "death" is the
drowning of Atlantis-Paradise turned into Hades, into the Realm of the Dead, by
the cataclysm. The red color is also a reference to their fiery nature, as Chamites,
as we argued further above.
Cham (or Kama) is often equated to the Vadava-mukha ("Fiery
Submarine Mare") which is the name given to the Doomsday Fire which destroyed
Paradise according to Hindu traditions. And this fire is no other than the ferocious
Krakatoa volcano, now sunken under the waters of the Sunda Strait, where it awaits
for the opportune moment to come back to life and again destroy the world as it
did then. But the"reds" also owe their name to their ruddy complexion
and their redheads, also a feature of the Tocharians, the Yüeh-Chi, the Seres,
the Ethiopians, and other such Aryo-Semitic races of the Far East. To these we
must also add the Canarian Guanches, the Libyans, the Nordics, certain Indo-Europeans
and Jews, and other races which originally came from this region of the world.
The other three colors also correspond to the other three castes
of Vedic India. So it is visible that the Hindu tradition somehow passed into
the Americas, where it was universally adopted. As can be seen in Fig. 3, the
four sides of Mt. Meru are also similarly colored with the Four Varnas. The Four
Subsidiary Centers (or Guardians) are sometimes represented by the Four Trees
shown in Fig. 2 or by buffaloes (not shown) or, yet by Winds, Suns, Moons, Bats
(Vampires), Thunderbolts, as well as by Coiled or by Standing Serpents resembling
zigzag lightning and ball lightning.
The Central Mountain is sometimes shown as a sort of rosacea
(or four-leafed clover), with each leaf of one of the above four colors. This
rosacea shape of the Holy Mountain is also frequent in India, where it was often
identified to the Lotus or Rose, itself another allegory of Creation. More exactly,
the Lotus allegorizes, as we just said, the "atomic mushroom" of the
colossal explosion of Mt. Atlas, the one that destroyed Paradise. It was this
explosion that drove the survivors out, and triggered the process of Creation
everywhere, in a worldwide scale.
The rosacea of the Navajos (and other related forms) really
represents a pyramid of four sides terminated by a round base. This is an exact
replica of Mt. Meru of the Hindus, which is the true archetype of all such four-sided
pyramids or mountains from all over the world. Mt. Meru is also the Polar (or
Whirling) Mountain, turning at the Center and supporting the skies, just as is
the case with Mt. Atlas, the Pillar of the Skies, in Greek myths. This blending
of a round base to a square body is a representation of the world as composed
of the earth (square) and sky (round).
This combination frequent in the Far East, for instance, in
the stupas and temples of Southeast Asia, as in the Wat
Arun (or "Temple of Dawn"). As usual, we have here the four subsidiary
peaks flanking the Holy Mountain at the center, forming a quincunx. The idea is
associated with the "squaring of the circle" of which we have many instances,
for instance in the Great Pyramid itself. In other words, what the Whirling Mountain
of the Navajo Indians indeed represents is Mt. Atlas, the Pillar of the World,
linking Heaven (round) to Earth (square).
And this "pillar", the Pillar of Heaven, is, as we
just said, the same as the Pillar of Fire and Smoke topping Mt. Sinai during the
Exodus of the Israelites from the site of Paradise Destroyed. Mt. Atlas is just
the name given by the Greeks to Mt. Meru, the Holy Mountain of Vedic Traditions.
It was from this hymnary (the Rig Veda) and the associated Hindu myths
that the Greeks obtained their traditions on Atlantis, already old in India and
Indonesia when the Greek nation not even existed as such.
The Greeks translated as "Atlas" the Hindu name of
Atalas, another name of Mt. Meru, the Mountain of Paradise. This Sanskrit word
means something like "sunken down", and was rendered it into the Greek
language as Atlas, a word they likewise derived from a-tla, meaning "the
one that did not (a) bear out (tla)", which is approximately
the same etym. Atala is also the name of a paradisial hell, sunken under the sea
and the ground in its bottom. As is clear, the Greeks copied their myths on Atlas
and Atlantis from the Hindu/Indonesian ones, which are not only far older, but
indeed conformal to the local geography and factual traditions.
The coincidences embody not only the actual traditions, but
also the very names used in both the Greek and the Hindu myths on Paradise Lost.
And the region where the terrible event indeed took place was,in both traditions,
Indonesia, the true site of the former Hindu Paradise (Atala) turned into Hell
itself. What else can we conclude but that the tradition of Atlantis indeed derives
from the East Indies and that it is there that we must search Atlantis-Eden and
the origin of Mankind and Civilization if we are ever to find it?
the four guardians and the lokapalas
Alternatively, in other Navajo mandalas, the Four Guardians
are represented as Four Suns, Four Moons (identical) or as two pairs of Suns and
Moons. These four figures are called Sky People, and are equated to Dawn, Blue
Sky, Yellow Evening Light (Dusk), and Darkness. These are indeed the Four Cardinal
Directions: Orient (or East), Occident (or West), Noon (or South) and Darkness
(North). More exactly, they correspond to the Four Corners of the World.3
The Four Trees are the Trees of Life represented by four domesticated
plants springing from the Central Paradise. Sometimes, all four are corn trees
(maize), the Sacred Tree of most Amerinds. We note that, in Fig. 2, the subsidiary
mountains are crossed by two perpendicular diameters. This emblem corresponds
to the traditional symbol of the planet Earth, as well as to the so called Cross
of Atlantis, as it corresponds to the shape of the capital city of the empire
described by Plato.
The "Trees of Life" springing from the Navajo Paradise
vividly portray the fact that agriculture and the domesticated plants and animals
whose mysterious origins are one of the greatest riddles of Mankind
indeed originated in Lemurian Atlantis, in Eden or Paradise. From there the Navajos
came, in the dawn of times, from the Primordial Cave buried under the Holy Mountain
and turned the Realm of the Dead, the Paradisial Hades or Amenti or Xibalba or
such, which the Judeo-Christians later turned into a hellish Sheol.
More exactly, the figure portrayed in the mandala in question
represents the same shape mentioned above, that of a four-sided pyramid with a
round base which is the peculiar form of Mt. Meru. Apparently, this form was an
idealized rendition of Mt. Everest, which has approximately the pyramidal form.
At the symbolic level, this round-based pyramid represents the
"squaring of the circle", here allegorized by the serendipitous reunion
of the two incongruous geometries, the circular base and the square top. This
odd matching of incongruous shapes is also found in the Indies, for instance,
in certain olden pagodas illustrating the Golden Mountain of Paradise (Mt. Meru),
precisely as with the Whirling Mountain of the Navajo Indians.
the whirling mountain of paradise
The Central Mountain in Fig. 2 has a central circle representing
a flat-topped cone or, rather, a volcanic crater. This flattop is also a feature
of Mt. Meru (the lotus") and represents the "decapitation of Paradise"
that is commemorated in the world's mythologies. Sometimes, this central flattop
is represented by an actual bonfire at the center of the diagram. Alternatively,
it is conventionally represented by a red cross at the exact Center of the World,
that is, at the top of the Whirling Mountain of Paradise. In the Egyptian pyramids
and obelisks, this fiery top was represented by the pyramidion at their tops.
This was made of polished metal (gold), which flashed like fire in the sunlight.
As in India, the idea is that the Whirling Mountain is a volcano.
It represents the Polar Mountain, placed at the exact center of the world, directly
under the Pole Star, yet another allegory of the volcanic fire, as discussed further
above. In fact, this universal allegory which makes sense nowhere but in
India and Indonesia derives from a wordplay and is an esoteric reference
to the Tara-milas (the Dravidas or Tamils), a name that means "People
of the Pole Star" in their tongue. The reason for that name derives from
the fact that the Dravidas identified their Supreme God Shiva Sthanu,
"the Pillar of the World" with the Pole Star (Canopus), which
they utilized in their Celestial navigations, in Atlantean times. And this epoch,
as can be determined from astronomical calculations, was about 12 to 16 kya (kiloyears
ago), precisely the times of Atlantis' apogee.
the pole star and the whirling mountain of paradise
The Pole Star in question was the South Pole Star of the epoch,
Canopus, which the Greeks identified with Atlas and the Egyptians with Osiris
as the Djed, the "Pillar of the World". The placement of the
Holy Mountain of Paradise Mt. Atlas or Meru or the Whirling Mountain, etc.
directly under the Pole Star is, we repeat, a mere allegory, a purely symbolic
representation of its association with the Tara-milas or Dravidas, and
with their great god, the alias of the Pole Star. The researchers who insist in
placing Atlantis and/or Lemuria in the Polar Regions of Antarctica and the Arctic
against common sense and against the massive scientific evidence contrary
to the idea of Pole Shift commit a most grievous mistake.
[Footnote: We heard that one of the main proponents of
the idea of Pole Shift, John White (Pole Shift, Berkley Books, New York,
1980) has discarded this preposterous, antiscientific notion. Pole Shift is both
a geologic and a physical impossibility, as we argue elsewhere in detail. So did
Charles Hapgood and other early pioneers, Einstein included. Perhaps his followers
or those who obtained the harebrained idea from the late Charles Hapgood
himself should also follow the good example of their precursors. The serious
reader is urged to discard such a farfetched nonsense, that can only harm the
cause of Atlantis, and bring discredit to it. After all, "you cannot fool
the whole people the whole time", can you? And, of course, you cannot "eat
your cake and have it too" as some apparently wish to do. Atlantis cannot
possibly be located both in Antarctica, as they assert, and in Indonesia, at the
equator, as they now will, and where I, first of all ever, located it. Scientific
dishonesty generally leads to discredit to the whole community of researchers,
academic or not.]
The Pole Star was often equated with the Morning Star. More
exactly, we then had Twin Pole Stars, one the North Star (Vega) and the other
the South Star (Canopus). These were represented as the Twins of all mythologies
and, in particular the Twins of Navajo traditions. In Egypt, for instance, the
Twin Pole Stars of Atlantean times, Vega and Canopus, were identified to Hathor
and Horus (the Elder), or, also, though more confusedly, with Isis and Osiris.
In later times, after the fall of Atlantis, these twin gods
were also equated to Sirius and Orion. In Greece, the Twins were often identified
to Atlas and Hesperus, themselves identified to the Morning and the Evening Stars
and, more exactly, to the Twin Pole Stars of Atlantean times, Vega and Canopus.
These Twins, as those of the Navajos and other nations, personified the two primordial,
destroyed Paradises, Atlantis and Lemuria.4
the whirling mountain is indeed a volcano
The Fiery Mountain (or Hogan) is actually a volcanic peak with
its central crater. It is also a conventional representation of Mt. Meru as the
Hollow Mountain that connects Heaven to Hell below. As in Indian symbolism, we
see that the Navajo Sun-god is really Agni, the Principle of Fire, embodied not
only in ordinary fire, but in underground fire (volcanic magma). Alternatively,
Agni is also represented as Celestial Fire (thunderbolts, meteorites, the Sun).
These three modalities of Fire are the Three Forms of Agni of Hindu mysticism.
They also correspond to Shiva Trikaya ("Three-Bodied") and, in Greek
myths, to the three-bodied giant Geryon, an alias of Atlas. Very disguisedly,
Agni is also an alias of Kama, himself an allegory of the Vadava-mukha.
Thus, when the Navajos affirm that they came out from the Sun
House or from within a cave representing Hell below, they are indeed saying that
they came from Indonesia, the true site of Eden, placed at the very Center (or
"Navel") of the Earth. Being located in the antipodes of the Americas,
Indonesia is truly the netherworld, lying directly underground, on the opposite
side of the earth. This Paradise Destroyed turned into a veritable inferno, plague-ridden
and sterile, after it was devastated by the volcanic explosion far fiercer than
the one of the Krakatoa in 1893.
This explosive eruption we already discussed above and elsewhere
in connection with the "foam" or "seafroth" (pumice) which
covered the seas of Atlantis after the cataclysm that destroyed it. Indeed, the
references to foam (or "seafroth") connected both with Venus and with
Changing Woman, as we mentioned above, actually refer to the vast amounts of pumice
that covered both the seas and the land after the cataclysmic eruption of that
This mantle of volcanic ashes formed a sort of shroud, enveloping
the dead body of Paradise, asphyxiating all forms of life for centuries on end.
This terrible event is endlessly referred to in myths connected with the destruction
of Paradise, in the so-called Cosmic Hierogamy of Fire and Water. These floating
banks of "seafroth" (pumice) formed the "impassable barrier of
mud" (ilus or pelos, in Greek ="froth, scum, mud, slime")
mentioned by Plato as covering the seas of Atlantis and rendering them innavigable
in a more or less permanent way, as we commented above. This type of feature is
also mentioned in innumerous cosmogonies, as covering the seas and the ground,
and rendering them sterile and unfit for life.
the pueblos, hogans and tepees as imitation volcanoes
The Navajos often depict the Central Mountain (or Sun's House)
as a sort of habitation entered from above by means of a ladder, exactly like
the actual houses of the Pueblo Indians, and those of Çatal Huyuk commented
above. There can be no question of coincidence here, and we are led to conclude
that these strange habitations actually attempted to imitate the Primordial Cave,
that is, the volcanic caldera that linked to the netherworld whence these Indians
allegedly came. In other words, these pueblos imitated their kivas and hogans,
themselves imitating of the Primordial Cave.
What else but Atlantis can this more or less real Netherworld,
this sunken Paradise be? Can you think of a fitter allegory for the sunken continent
than that of the Primordial Cave represented by their kivas and their hogans?
This cave is also the same as Pacari-Tambo of Mayan traditions, the Cave of Archetypes
of Plato's myth, the Cave of Illusions of the Ramayana, and of a hundred
similar traditions from all over the world. And, of course, this sunken, buried
Paradise is no other thing than sunken Atlantis itself and, even more exactly,
Lemurian Atlantis, its twin and dual.
So, the Indians themselves claim that they originally came from
Paradise Sunken, from Lemurian Atlantis, in the dawn of times. This is just what
we Christians and Jews do, under slightly different allegories. Why do we insist
in denying this fact but for the intention that originally underlay it, that of
depriving the Indians and other aborigines of their humanity and, even, of their
divine origin, in Paradise, so that we can enslave and exploit them as we have
traditionally been doing and actually keep on doing even today?
In reality, the Navajo hogans and the Pueblo kivas also resemble
some sort of a volcano, being built of mud and sticks so as to resemble a round
mountain peak with a fire inside (the central stove). The typical tepees
of the Plains Indians also resemble volcanoes even more, being conical in shape
with a vent on top to let out the smoke of the inner fire. By the way, the word
hogan came from the Spanish fogán meaning "stove",
and implies an idea of "volcano", just as does the word "tepee".5
As we have shown above and elsewhere, the temples of Vesta
the Roman fire-goddess and Hestia, her Greek counterpart, are close replicas
of the topography of Paradisial Atlantis and Lemuria. Their temples were round
and conical, with the Holy Fire perpetually burning in the altar at its center.
This design simulates a volcano or, rather, the volcanic peak of Mt. Atlas, ready
to explode and destroy Paradise at any moment. So do the kivas
of the Pueblo Indians, the hogans
of the Navajos, and the tepees
of the Plains Indians, which are all built so as to resemble a volcano, with the
smoke issuing from the top, as in a volcano, and the Indians living inside. These
volcanoes represent the mundus, the connection with the underworld from
which the Indians theoretically emerged into this world, coming from the site
of Paradise Destroyed where they formerly lived, before it was destroyed.
[FOOTNOTE: Essentially all Indians and, indeed many other
peoples have traditions on having come from the netherworld or from heaven by
means of a cave or some such feature. What this indeed means is that they came
from the antipodes of the Americas, which is of course Indonesia, as is easy to
see in a globe of the earth. In other traditions, they came, instead, by means
of a giant canoe or raft, often identified to a giant snake or to the ark, a far
likelier alternative. What my research shows, in a most unequivocal way, is that
the Amerinds came via the Pacific Ocean, riding the Equatorial countercurrent,
which leads directly from Indonesia to Ecuador, along the equinoctial line (the
Equator). In all probability, earlier Indians (Paleo-Indians) entered via Bering
Strait or whatever. These later Indians were the great civilizers, the ancestors
of the Incas, the Mayas and the Aztecs and other such great civilizations of the
Americas. They also brought agriculture to the Americas, as innumerous
The idea of a fiery devastation connected with volcanoes is
also evidenced by the fact that the Sun's House of the Navajo Indians is first
painted with soot obtained from burnt grass, and them covered with the other colors.
Moreover, its place is often described as immersed in a perpetual fog and darkness,
such as the ones that result from a volcanic explosion of importance, such as
the ones of the Toba and the Krakatoa volcano which we have been associating with
the demise of Atlantis-Eden.
the mountain fallen away
As we saw above, the Central Mountain is also called "Mountain-fallen-away"
or "Sky-reaching-butte". The ritual for the construction of figure of
this butte is described thus:
"This butte is not constructed of anything common... First,
clay for pots is built into a tapering cone, but not to a point... After this
is made,... black from burned herbs is sprinkled over, in order to represent darkness...
On the flat top is a small black circle and, across this, a red cross representing
the fire inside". [Bernardo: Isto é Citação, eu acho.
Conferir no original]
In other words, we have an exact miniature of a volcanic peak
covered by soot and enveloped by dark smoke. We can compare the Navajo sandpaintings
with the ones from the Mayas, shown in Fig 4 below. This figure is taken from
a Mayan Codex. Except for the different style, the conception is exactly the same
as that of the Navajo mandala of Fig. 2. At the four corners, we have the Four
Trees of Life, each attended by two Guardians, each having a bird sitting on top,
exactly as in certain Navajo sandpaintings. Here, the four trees of life replace
the four subsidiary peaks of the Whirling Mountain, from whose tops the trees
are said to grow.
At the center of the mandala the Center of the World
we have the figure of a warrior wielding a three-pronged thunderbolt (or
vajra). This figure closely evokes the similar ones of Zeus and Shiva,
likewise three-pronged. This warrior is the Sun or, perhaps, his "son",
who is indeed his renewed avatar. And the three-pronged vajra (thunderbolt)
wielded by the personage is indeed the three-peaked mountain Trikuta, the same
as Mt. Meru, the Holy Mountain of Paradise.
In the previous footnote we saw how, in India,
the words for "thunderbolt" (ulka) and for "volcano"
(ul-kan) are more or less synonymous. Hence, the thunderbolt-wielding god
here portrayed is indeed a personification of the three-peaked, volcanic mountain
of Paradise (Trikuta). Such a visual wordplay which does not obtain in
Amerindian languages or any others can only have originated in India. The
conclusion is also that the similar themes in the other mythologies of the world
are also consequently of Hindu origin, unless contrary evidence is obtained.
The name of the "Mountain-fallen-away" is a direct
translation of the Hindu originals which figure in innumerous myths under names
such as that of "Decapitated Mountain". This mountain is no other than
Mt. Meru or, more exactly, Mt. Kumeru, the Holy Mountain of Paradise. The name
in question is also an exact translation of that of Mt. Atlas, which is formed
of the Greek prefix a, meaning "not", and the radix tla,
meaning "to bear out", "to withstand".6
In other words, the name of Mt. Atlas indeed means "the
one who did not withstand" or, what is the same thing, "the mountain
that fell away" (collapsed), just as did the one of the Navajos. In turn,
the Greek name of Atlas derives directly from the Sanskrit Atala or Atalas, the
name of a Hindu sunken Paradise which has exactly the same signification, and
which was the actual archetype of Atlantis.
the twins and the skull mountain of the aztecs
The Primordial Twins are, likewise, the central figures of the
Popol Vuh, the classic Mayan saga. The Mayas too have the Four Guardians
(called Bacabs) which they equate to the Four Horsemen of the Apocalypse.
They also speak, as do the Hindus and the Navajos, of the Four (or Five) Eras
of Humanity, each corresponding to one of the Guardians.
An Aztec mandala similar to the ones of the Navajos and the
Hindus is shown in Fig. 5. In it, the Central Mountain is replaced by a skull,
likewise placed at the Center of the mandala. This Skull Mountain corresponds
to the one formed by the skull of Dadhyanch in Hindu myths, and to that of Adam
in Judeo-Christian mythology. The skull of Adam is said, like the one of Dadhyanch,
his archetype, to have fallen from Paradise above. It fell in the center of Jerusalem,
itself the Center of the World, and formed Mt. Golgotha or Calvary ("Skull").
Adam's skull was later found at the feet of Christ's Cross when its ground was
being dug in order to fix the Cross to the ground.
As in the traditions just mentioned, the Mayas have a high reverence
for the Skull Mountain, which they associated with the crystal skulls they worshipped,
and of which several magnificent exemplars were found inside the Mayan temples
and pyramids. Interestingly enough, Adam's skull, like that of Dadhyanch was said
to be made of quartz crystal or, rather, of crystal-clear diamond, whose Greek
name is precisely Adamas ("Untamable"). Coincidences? Can you
really believe it?
Interestingly enough the Skull Mountain of the Aztecs is also
topped by a Cross, just as is also that of the Navajos and the one of the Mayas
shown above. Many other similarities exist between the Amerindian Cosmogonic symbols
and those of the Ancient World. But their discussion is left for a better occasion,
and a more discreet arena, for certain things can not be told to all. However,
what we just saw, is hopefully sufficient to convince the reader of the reality
of what we claim concerning the reality of Atlantis-Eden.
Finally, we return to the Hindu-Tibetan mandalas discussed further
above. These mandalas are usually done by painting (on cloth) or, more often,
by sandpaintings identical
in technique with those of the Navajos and the Pueblos. This type of Hindu
mandala such as the ones shown in Fig. 3 above is called Shveta-Dvipa
(or "Pure Land") Mandala or, yet, Kalachakra ("Wheel-of-Time")
These mandalas represent, as do the Amerindian ones just discussed,
Mt. Meru as the Central Mountain of Paradise. Most often, Mt. Meru is shown as
a four-sided pyramid with the same four colors as those of the Navajo mandalas.
In some instances, Mt. Meru is represented as a cone or a four-sided pyramid flanked
by its four subsidiary peaks, just as in the Amerindian mandalas.
These four subsidiary peaks represent the Four Pillars of the
Earth. These are placed at its four corners, around the Central Pillar, Mt. Atlas,
the Pillar of Heaven. In real terms, the Four Pillars are the Pillars of Hercules,
placed two in the Far Occident (Gibraltar) and two at the Far Orient (the Strait
of Sunda, in Indonesia). In Egyptian mythology, these
Four Pillars are quaintly represented as the four members of Nut (the Sky Goddess)
planted on the ground, and two in the Orient, two in the Occident, just as
in the present case.
What else but diffusion can account for this perfect identity
in design, in symbolic meaning and even in rendition technique (sandpainting)
between the mandalas of the two distant continents? Can anyone really believe
that this remarkable coincidence may be attributed to chance or, worse still,
to an inborn feature of the human brain, imprinted on the human unconscious, as
some will? If so, why do other nations far closer in time and distance than the
ones we are discussing never hit on the same ideas and concepts? How come most
of us have no idea whatsoever on the real meaning of the symbols and rites we
endlessly worship only because our ancestors did so?
Moreover, if these archetypes were imprinted somehow, except
miraculously, this imprinting could only have been done as the result of a direct
observation of actual facts, shocking enough to get imprinted so deeply in our
minds. If so, Atlantis, far more than sheer myth, is pure reality. And certainly
a most memorable one to be remembered so long after its demise, when impressive
civilizations such as those of Sumer and of the Indus Valley became utterly forgotten
until their remains were dug out of the ground by archaeologists.
Hence, one way or the other, in our opinion, the tradition of
Atlantis and, hence, of Paradise, can only correspond to actual fact. How else
can we account for its central presence in the traditions of essentially all nations
of the world, from the Amazonian jungles to the deserts of North Africa, and from
the Indies to the distant European continent? How else but by diffusion could
the myth of Paradise Destroyed have reached the Americas in precisely the same
details as it existed in the Old World? And if so, how else but in Pleistocenic
times, when, according to the scientific consensus, the two worlds still connected,
this connection (the Bering Passage) having been severed for ever after, until
Columbus reestablished it, at the end of the 15th century?
an ancient technique of projective geometry
A final point we wish to moot out is, again, one of technique.
Sophisticated techniques such as sandpainting or Projective Geometry are hardly
ever the result of different, independent inventions. Their presence usually means
transference, through direct contact. A close comparison of the mandalas shown
in our figures reveals a peculiar fact. All are done by means of a technique of
Projective Geometry called "side-projection" or "side-elevation".
The four lateral features, in the vertical, are hinged to the sides, and are shown
in front view, rather than from above, in plan view, as is the case of the central
It is rather unlikely that such a technically sophisticate and
highly conventional rendition could be passed down the generations as a simple
innate memory, dating from the primordial eras of mankind. Besides, this technique,
as shown above, exclusively applies to the depiction of Paradise as the Primordial
Center and, as far as we know, to no other situation. Such is also the case with
sandpainting, an unusual technique, to say the least. In fact, as we showed above,
the use of sand is intended to show the ephemeral nature of all things, Paradise
included. And this concept pervades Hinduism, which centers its eschatological
doctrines on it.
As is clear, these doctrines originated in the Old World and
thence diffused to the New one somehow. Even the Celestial Jerusalem another
such Center or Paradise is represented according to this peculiar mode
of projection. So are certain Hindu Paradises such as Vaikuntha (Indra's Paradise),
which is clearly the archetype of the Celestial Jerusalem. Likewise with the Paradise
illustrated in the Kalachakra mandalas, which is no other than Shvetadvipa, the
White Island of many traditions. And it was precisely in this White Island that
the white races originated, as we argue elsewhere in detail.
Hence, once more, we are led to reject any explanation of the
remarkable coincidences shown above based on "innate archetypes" or
"supernatural revelation", as proposed by some. Indeed, we here really
have a case of "revelation". But the "Angels" or "Civilizing
Heroes" are quite real indeed, and not at all a figment of someone's imagination.
They are the all too humans who fell desperately in love with the daughters of
the (other) humans. They are the survivors of the cataclysm which destroyed and
sunk away Atlantis, the true site of Paradise. And they are the fallen "gods"
or "angels" or "titans" who civilized the other nations, and
who were so admired as to be deified and worshipped ever after.
Of course, this Paradise call it Atlantis, Eden, Yvymaraney,
Shveta-dvipa, Aztlan, Tollan, Atala, or Land of the Sun was never found
before because it sunk away in the Flood, and disappeared forever, just as told
in the Bible. But it survived in Man's imagination and in the religious rites
and sacred traditions of peoples everywhere. This blessed place was called the
Terrestrial Paradise, and has nothing to do with the imaginary Celestial Paradise
promised the dead by the official religions, and which is a purely spiritual reality.
In fact, we find it extremely paradoxical that most people,
while firmly believing in the reality of the Celestial Paradise, are highly reluctant
to accept the reality of the Terrestrial Paradise of which all traditions speak,
the Judeo-Christian ones included. A highly irrational behaviour, is it not? And
this is indeed the result of conditionment, of a reflexive behaviour called "imprinting"
or "superego" by the specialists. A behaviour akin to the one of Pavlov's
dog, which could not stop salivating years after the incentive was cut off.
It is true that this Paradise, Atlantis, has also not been found
up to now. But this is not because it does not exist or left no traces whatsoever,
but because it has only been sought in the wrong places, in the opposite side
of the world from where it indeed lies. In fact, as all traditions affirm, when
correctly interpreted, Atlantis-Eden indeed lay in the Land of Dawn, in the Island
of Fire that is obviously full of volcanoes, as its name attests.
This island is also the Land of Sati (or Dawn or Vesta), the
Great Mother who committed suicide by throwing herself in the funereal pyre of
her husband, the volcano god. And this beautiful allegory which was turned
into the Hindu ritual of sati ("sutee") which so shocked the
Europeans in India is merely a personification of the primordial engulfment
of Atlantis by its fiery volcano, whose giant caldera opened to swallow it. Of
course, this swallowing refers to the capital city only, which was built around
the volcano, as is so often the case. But the cataclysm had global proportions,
and ended up causing the end of the Pleistocene Ice Age, and the sinking of the
entire continent, as we argue elsewhere
seek, and ye shall find
The only viable explanation for the identity of the Navajo traditions
and the ones of India and Indonesia is the natural one of diffusion. And, as illustrated
in their mandalas themselves, this diffusion starts from a center; the very Center
portrayed there. Any other attempted explanation can only lead to paradox and
obscurity, as they invariably have, up to now.
But, if the Center the so-called Terrestrial Paradise
really existed, why not accept what Tradition obsessively tells us, and
adopt the traditional names such as Atlantis, Lemuria, Eden, the Isles of the
Blest, and so on? Why reject the reality of such places just because we deem the
natives stupid and mischievous, and refuse to accept their holy traditions as
true fact? Has the fact that we forgot our own traditions the ones we repeat
mechanically in our religious rituals, like apes, as a sort of Cargo Cult
something to do with our scorn of them? Or do we fear to be deemed even more stupid
than the natives we oppress and rob, not only of their possessions, but even of
their religious traditions, forcing them to accept our own white-suprematist,
It is obvious that all our attempts to locate these holy sites
in the Occident or in the Near East have so far failed miserably. Why not, then
seek in the right spots, in the Far Orient so clearly mentioned in the Bible and
elsewhere? It is in India and in Indonesia that Atlantis and Lemuria, the two
Centers of Primordial Civilization are to be found, and nowhere else.
If we indeed want to find the site of Paradise the supreme
endeavor of all truly great sages of the past, as we argue elsewhere we
should do what the Heroes did, and search it in the East Indies. And if we do
this, we shall find it. As a surplus, we shall also find out that all the Paradises
of the ancients are but one and the same: that of Eden, in the region of India
and Indonesia. Most of it sunk away, as we argue in detail elsewhere. The only thing that we, whites,
have to lose is our delusion of grandeur, of having been first and foremost in
history or even in God's designs. Are we ready to face that risk, and to accept
the fact that we were not first, and that this glory indeed belongs to our darker
For, all true traditions are but one: the Primordial Tradition
that came down to us from the dawn of Mankind as the legacy of our Atlantean forefathers.
And this Tradition is that of Eden or Atlantis, precisely as related by Plato.
Why should we persist in deeming Paradise and Atlantis unreal an outright
lie of our ancestors of old and of the stupid natives that know no better
when all the geological, the geophysical and the anthropological evidence unequivocally
indicates that Atlantis indeed existed and was indeed the Paradise where humans
originated and first rose to Civilization?
How can anyone seriously believe that the beautiful sandpainted
mandalas of the Navajo Indians and their many symbolic counterparts in the Americas
and elsewhere representing the Holy Mountain of Paradise in exactly the same way,
the same sacred geometry, the same symbolism, and the same techniques (sandpainting,
"side-elevation" projection, quadripartite symmetry) can have originated
independently from the ones of India and Indonesia?
The only alternative explanation is through divine inspiration.
But why would God cheat us all, and inspire a Paradise that never was but in our
wildest dreams? I, for one, refuse to believe that God would cheat and delude
us all with illusions and unreal chimaeras, just for fun. Why does the Bible tell,
just as do the Navajo traditions, of a Terrestrial Paradise, if it only exists
in the never-never-land of Heaven? How come the two distant traditions invented
the same lie on opposite sides of the world, independently and more or less simultaneously?
More exactly, this enormous mass of evidence unequivocally points
towards the Far Orient, the true Land of Sunrise, the Land of Dawn, our dawn,
the dawn of Mankind. There, the Sun of Civilization and Intelligence first rose
and shone, with the brightness of a thousand suns, as shiny and as scorching as
the volcano that later destroyed it beyond repair. There the Phoenix first awakened
and rose, crossing from the ancestral Heliopolis into its replicas elsewhere,
into Egypt, the Near East, Polynesia, Europe, and even the distant Americas, as
we just saw. And it is its light that illumes us all even today, for it was from
there, from Atlantis-Eden that we learnt all things, just as the ancient traditions