Sacred Geometry in Ancient Egypt
By M. Gadalla
The Cosmic Geometry
Herodotus, the father of history and a native Greek, stated in 500 BCE:
Now, let me talk more of Egypt for it has a lot of admirable things and what one sees there is superior to any other country.
The Ancient Egyptian works, large or small, are admired by all, because they are proportionally harmonious and as such appeal to our inner as well as outer feelings. This harmonic design concept is popularly known as sacred geometry—where all figures could be drawn or created using a straight line (not even necessarily a ruler) and compass, i.e. without measurement (dependent on proportion only).
The principles of sacred geometry are of Ancient Egyptian origin, which constituted the basis of harmonic proportions, as evident in their temples, buildings, theology, …etc. The Ancient Egyptian design followed these principles in well-detailed canons. Plato himself attested to the longevity of the Egyptian harmonic canon of proportion (sacred geometry), when he stated, “the pictures and statues made ten thousand years ago…”
The key to divine harmonic proportion (sacred geometry) is the relationship between progression of Continue reading
THE PORTALS OF HEAVEN
THE GOLDEN AND SILVER GATES
A Study of their Cosmic and Prophetic Significance
by Luis B. Vega, 2015
‘And to the Angel of the church in Philadelphia write: He who is Holy, who is True, who has the Key of David, who opens and no one will shut, and who shuts and no one opens, says this: ‘I know your deeds. Behold, I have put before you an Open Door [Gate] which no one can shut, because you have a little power, and have kept My word, and have not denied My name.’ – Revelation 3:7-8
The purpose of this study is to consider the concepts of the Golden and Silver Gates of the Cosmos. In light of the many assertions pertaining to the opening of ‘Gates’ or doors by CERN lately one has to appreciate the conceptualization of what the Golden Gate and Silver Gate alludes to. The Ancients knew that Gates or portals existed into other dimensions. One such knowledge is the concept of what the Golden Gate and Silver Gate are apparently in relation to the known Universe from Earth’s perspective. Continue reading
Orgy scenes, such as the one depicted in Roses of Heliogabalus by Alma Tadema, did not exist, according to Dr Alastair Blanshard.
Classical orgies are a myth of our own making
By Kate Rossmanith, 2006
A University researcher has dispelled a myth which has validated the saucy exploits of libertines for centuries: the widespread existence of the Roman orgy.
According to Alastair Blanshard, a Greek history researcher from the School of Philosophical and Historical Inquiry, there was no such thing. [Eyes wide shut. 7M]
“I’m sorry if there are any suburban swingers out there, but whatever you’re doing, it’s certainly not classical,” Dr Blanshard told the audience at a public lecture in the Nicholson Museum.
Dr Blanshard is studying how modern culture imagines antiquity, and how it perpetuates stories about the sex lives of ancient civilisations. He began unearthing whatever evidence he could find of illicit affairs, juicy encounters and frenzied group sex in classical Greece and Imperial Rome. Continue reading
Two ivory Djed pillars found in a
First Dynasty tomb at Helwan.
(photograph taken by J.D.Degreef)
The Concept of the Djed Symbol
By Vincent Brown, 2012
One of the most enigmatic symbols of Ancient Egypt is the Tet, or Djed. Although it was widely used as a religious icon throughout much of the history and geography of Ancient Egypt, it is still not clearly understood what the Djed was originally conceived to represent. Determining its meaning from its appearance alone is not an easy task so we shall take some of the suggested definitions and analyse each individually. But first of all lets look at the key elements that make up the symbol.
Typical Distinctive Features:
- Four horizontal bars surmounting a vertical shaft
- Vertical striations between each bar
- These striations are shown in profile on the sides of the Djed creating a curved appearance
- Four bands around neck of the shaft
- Sometimes a small capital can be seen surmounting the Djed
- The Djed often stands on a rectangular base
Ritual Symbols of the Voudou Spirits: Voudou Veves
By Denise Alvarado, 2010
A Veve is a religious symbol for a vodou “loa” (or lwa) and serves as their representation during rituals. In Haiti, the veve derives from the beliefs of the native Tainos. Most similar to the veve are the drawings of zemi or gods of the Taino religion.
Every Loa has his or her own unique veve, although regional differences have led to different veves for the same loa in a few cases. Sacrifices and offerings are usually placed upon them.
The veve is usually drawn on the floor by strewing a powder-like substance, such as cornmeal, wheat flour, bark, red brick powder, or gunpowder. The material depends entirely upon the rite.
The veve in the introduction represents the Voodoo loa Papa Legba, who is the gatekeeper to the spirit world, remover of obstacles, and provider of opportunities. Continue reading
MATE MASIE -“what I hear, I keep” wisdom, knowledge, prudence
Ntesi-Matemasi symbolizes wisdom and knowledge. “Nyasa bun mu nne mate masie masie.”
ME WARE WO -“I shall marry you” commitment, perseverance Continue reading