B. Text and Images:
Laocoön and His Sons
[Marble. 1st century CE. Rome, Vatican Museums, Pius-Clementine Museum, Octagonal Court, Laocoon (Musei Vaticani, Museo Pio-Clementino) http://ancientrome.ru/art/artworken/img.htm?id=1372]
Do you see the similarities with the pattern of the Squatter Man? The heads of the sons are where we would find the dots on petroglyphs representing synchrotron radiation. The serpent; the Birkeland Currents.
It is not known whether it is an original work or a copy of an earlier sculpture, but surely we see its influence in later religious art, especially in the work of Michelangelo.
Michelangelo’s Creation of the Sun and Moon…
The torso of God is in counter-clockwise rotation. The legs of God are rotating clockwise. The pattern is that of two spiraling vortexes. The point at which the two vortexes meet is marked with an image of “eye that is single”. The eye marks not only the portal of inner introspection and transcendence, but is mirrored, as above so below, in images we remember from the Hubble telescope of the center of swirling vortexes.
When mankind views the sun and the moon from the earth, they are similar in size as they are shown in this scene. This scene also represents the separation into complementaries, the sun representing male, the moon representing female. God is represented as male, but notice the exaggerated breasts beneath the beard. God has no gender but is the Source of the complimentary. The symbol of the Eye lies upon God’s womb.
In Michelangelo’s Pietà for Vittoria Colonna we see the representation of the Squatter Man plasma form. Mary’s arms form the champagne glass or Chalice bowl. Jesus’ arms form the bell. His head is where the pinch would be. Putti heads fill the space for the circles typically drawn in the Squatter Man petroglyphs.
Notice that the body of the figure on the left is facing toward us as the other shows us his back. The visual sense of tension in holding back the arms of Jesus is paired with the suggestion of a counterclockwise movement.
This Pieta is dramatically different in composition from the famous sculpture of the Pieta that he did much earlier in his career. This is one of two relevant drawings done for his friend Vittoria Colonna, the Pieta and the Crucifixion that both demonstrate a compositional format balancing the upward arch and the lower arch on the pillar with two minor characters on the sides along a central axis.
Michelangelo’s Pieta for Vittoria Colonna
“Kristina Hermman Fiore explores the meaning of the design…: “Raising the arms upwards toward the height of the sky was a sign of “victory” with reference to that of Moses over the Amalekites, described in the Book of Exodus of the Old Testament (Exodus 17, 8-16). Moses on that occasion was seated on a rock and his arms were held up by Cur and Aaron. In the drawing however the two angels at their posts do not hold up victorious arms of the Madonna, but rather those of Christ …” Moses was hurling a bolt of electricity.
The iconographic sign of victorious prayer stems from the victory of Moses over the Amalekites which may also describe the Peratt Instability.
In the studies for the crucifixion we see the putti under the outstretched arms of Jesus and the Virgin and St. John standing at the foot of the cross. The composition as a whole contains the elements of the Squatter Man and plasma instability.
Included here is a sketch of Vittoria Colonna and it was Colonna that posed for the woman with the side-lock braid. ‘Venus symbol anyone?
Michelangelo’s “Creation of Adam”
Dr. Frank Lynn Meshberger discovered that Michelangelo had painted God’s cloak is in the shape of the human brain. Most of us have seen this by now.
This is a detail from Michelangelo’s depiction of the great flood. The Venus side lock, a braid in this case is worn by the woman holding a young child while another clutches at her leg. The trio is not unlike the Madonna with young Jesus and John the Baptist but this Madonna with her heirs will perish in the catastrophic flood. Oddly, the child she holds is making the hand gesture of John the Baptist who baptized with water. Submersion baptisms brought about near death experiences and visions of God.
The symbolism of the two young children and mother in “The Deluge” or The Flood is combined with the same billowing cloak design that was a clue to the Eye of God in his “Creation of Adam” and “Creation of Sun and Moon”. The two portions of the cloak, one portion behind each child, again a reference to the brain; the mind, this time split in two as a result of the cataclysm as it takes their lives.
The right hemisphere of the brain is repeated on the lower body and legs of God in the image on the bottom. Where we find God’s head in the Creation of Adam, we find the image of an Eye on God’s lower abdomen in the Creation of the Sun and Moon and Planets.
This is Michelangelo’s Doni Tondo. The Holy Family is in the foreground. A young John the Baptist is behind the border, separated from the primary group. A less obvious version of the swooping curve of the brain is hidden on Mary’s right leg. It looks more like an eyebrow. Clues embedded in this painting shed further light on the message of the brain.
A saffron robed monk and hidden symbols lie within folds of fabric. Saffron represents the God of Fire, the Priest of the Sacrifice and the provider of the treasure of knowledge. [color meaning source: Sam Bhatta from Quora site online.]
The Eye of Ra becomes obvious. The cymatic insert is an image created with sound in the Kings Chamber by John Stuart Reid. [cymascope.com]
Both the Eye of Horus and the Eye of Ra are on Mary’s garments. Notice the comparison with the section of the brain. [Original source of brain/ eye image unknown]
The symbol for Pi is easy to find. Other symbols are less clear.
The peacock is often used in art to represent Royalty or God. It is also a symbol for a map of the third eye. [Original source unknown]
The Uraeus Serpent; the kundalini, the body’s energetic currents awaken the third eye of the seeker. In the material world, it is the peacock that kills the serpent. Only the wise may pass this way.
[Image credit: scontent.cdninstagram.com]
Tarot cards show the High Priestess sitting between the pillars Boaz (strength) and Jachin (mercy, or Yah establishes). It reminded me of the Goddess holding serpents. ‘Also, I imagine energy of creation between Birkeland currents.
Here I’ve substituted Michelangelo’s Brugues Madonna as the High Priestess. This Madonna plays a special role as plasma storyteller.
The Bruges Madonna was the only major work that Michelangelo allowed to leave Italy during his lifetime. I suspect that the symbols are the reason why this was moved away from Papal eyes.
The pillars from the front of Solomon’s Temple are here, on the bodice of Mary’s dress. I think these folds of fabric have a double meaning. They represent the strength and severity of Boaz, the mercy of Jachin, and the torn veil to the Holy of Holies which was rent in two upon the moment of Christ’s death.
“And behold the veil of the temple was rent in two from the top even to the bottom, and the earth quaked, and the rocks were rent.” biblehub
The Tau cross is a symbol for life and for resurrection; the Cross of the Christ and the Tree of Life. It represents a sacred gate or opening. The Tau is the center of the cube of space. This symbol combined with the split drapery or veil on the garment of the Mother of Jesus as Michelangelo sculpted her here, guiding her Son as he moves from her, foreshadows the ripping open of the veil upon the “sacrifice of Jesus” on the cross. The death of the Christ on the Tau Cross and the tearing of the veil represent the breaking of the old covenant and the redemption of those bound by it.
In “The Tao of the Tau” Scott Onstott refers to…
The Inner Structure of the I’Ching by Lama Anagarika Govinda …a question is asked, ‘What is the meaning of these things happening at this moment?’” … “The word Tao is the answer to this question. The present situation within and around oneself is Tao, for the present moment is life. Our memory of the past is contained in it as well as the potentiality for the future.”…
This brings us to part of the prayer most commonly associated with Mary, “pray for us now and at the hour of our death.” The now is the Tao, the new covenant is the Tau.
The rectangle at the top of the Tau Cross appears to have the dimensions of something Scott Onstott talks about in Secrets in Plain Sight; the Jerusalem Rectangle, symbolizing “As above, so below” and the scalability of all that exists. It may also represent the double cube (cite) in the Holy of Holies. As the Mother of the Christ, Mary is considered the Ark of the New Covenant.
Finally, there is the circle within the rectangle, with two inward facing disks. Following the logic of “if this is the Ark of the Covenant, then this is a representation of the Mercy Seat,” I wondered if the disks were a top down view of the Cherubim wings. The disks would have to be facing outward for this to be a symbol of the Goddess. So, I had to think about what else this resembled.
Michelangelo gives us two more examples of the Tau Cross. The first is a simple crucifix but without the arms of the cross or the arms of the Christ. The second is the Bronze Serpent painted on the ceiling of the Sistine Chapel. This healing serpent was placed on a cross by Moses so that the tormented upon seeing it, would be healed.
Again, from Scott Onstott: “God kills his chosen people with snakes because they complained about being hungry and thirsty. It’s easy to forget that and recall only that he healed those who didn’t complain with the Nehushtan as it is also known.”
This severity allowed mercy only through absolute obedience and fear. This is why I suspect this god is a traumatized demi-God; an element of the cataclysmic cycle, a Yaldabaoth or Enki or local war god.
[Note: Passover is forever tied to the “God” (demiurge or Yaldaboath) ordering the murder of first-born sons of Egypt before the “Exodus”. The TAU sign is linked those who offered the blood sacrifice of the lamb so that the mark over their doors would exclude them from the slaughter. Later, the murder/blood sacrifice of Yeshua/Jesus on a T or Tau shaped cross, made him the eternal Pascal Lamb offered by the people to the false God.]
Michelagelo’s Bronze Serpent points to the hypocrisy of creating the conditions that require healing and on top of that, to demand love, adoration, and later the sacrifice of someone else’s blood to be healed.
The Star of Life symbol, similar to the Rod of Asclepius and the Bronze Serpent of Moses represents emergency medical services such as ambulances.
‘Notice how the Star of Life has the upward reaching arms and the downward reaching arms and the general shape of the plasma Squatter Man?
This is an important example of the symbol of the circle with the inward facing discs. This is the roof of the Hagia Sofia; a magnificent church dedicated to wisdom and later turned into a Mosque. On the inside of the central dome is the Gnostic Wisdom Sofia….as Mary, with Baby Jesus.
But what does this symbol of Sofia and Mary and Jesus have to do with plasma?
‘Everything. It is the symbol of consciousness becoming matter, of plasma, of electromagnetic energy on all levels of scale and recorded in stone and myth by those who understood its power.
The veil of the temple was opened only once a year to admit the high priest into the Holy of Holies on the great Day of Atonement. Atonement can be interpreted as “being at one with” or “of one mind with” higher consciousness. The Wisdom Sophia and Mary represent the female aspect of Divine Consciousness. Christ or Christ Consciousness is the literal embodiment through wisdom, of being at One with the Consciousness of God.
There is far more than a coincidental use of plasma imagery in Michelangelo’s work. The Medici family was interested in the esoteric documents of their time. Michelangelo’s instructors were the Neo-Platonists of the Renaissance. It’s not hard to imagine why he was encoding symbolism that went beyond that of the Catholic Church.
Tradition states that King Solomon enslaved the Djinn to construct the first temple in Jerusalem, housing the Holy of Holies and the Ark of the Covenant.
The Mother Goddess is an aspect of the Divine Consciousness that has intentionally fallen into this material realm. The Goddess Temple reflected the maternal consciousness at the center of the plasma. She shares resonant energy on all levels of scale.
Perhaps we had nearly non-material bodies….less dense and more ethereal. Maybe we were something like J.R.R. Tolkein’s graceful Elves who required little food, seemed lighter than air and who were nearly immortal. Maybe there was a Middle Earth. Under such conditions, we may even have been aware that we too would fall into matter and experience life in bodies. Imagine.
I equate being closed out of the Garden of Eden to being closed out of the vast potential of our well-developed brains.
I’ve also considered how there was no need for “animal skins” to cover the nakedness of Adam and Eve until after the expulsion from the Garden as meaning that Adam and Eve had ethereal energy bodies, not physically dense bodies.
The serpent around the tree in Michelangelo’s Garden of Eden resembles this image of plasma toroids. One some level, the “Garden” may have been thoroughly pre-material plasma.
The Kolbrin Bible tells a story similar to that to that of the Garden of Eden, but the “fall” of the feminine was not into temptation, but voluntary, out of compassion for the injured man in material form.
An understanding of plasma’s creative and destructive power would have been coveted esoteric knowledge. The idea of associating such power with the Goddess as Mater and Mother, or in general with women would have been intolerable to Yaldabaoth style archetypes like Abrahamic patriarchies.
The only acceptable and no doubt carefully crafted archetype for woman was the obedient and nearly silent Mary.
“She/He will crush thy head and Thou shalt lie in wait for Her/His heel.” Genesis 3:15
This theme is subtly repeated with the symbolism of the Peacock as both God and serpent killer. The Eye of the Peacock feather is the geometric pattern made in the sky by the planet Venus, so she too is the Peacock.
It would seem that the kundalini is the serpent on one level of this metaphor. That makes this task a spiritual wisdom journey. If we are the seed of the Woman and/or the seed of the Serpent (children of Cain), then this story is as personal for us…
Crushing the angry God or Goddess by one’s heel is significant because the heel in biblical history is a point of vulnerability. In the contemporary mythology of theater and film, the heel is a source of magical power. (Clara in the Nutcracker and Dorothy in the Wizard of Oz both use their heels to vanquish their foe or obstacle.) The heel on the Reflexology map of the body represents our root chakra and reproductive chakra.
Wisdom Sofia steadies God’s arm and checks the direction of his life giving power. ‘Sounds like magnetic energy around an electrical current.