Giants with red hair are not a common sight in Hawaii, but they have been recorded throughout history. Reports of large, red-haired individuals living in the islands stretch back hundreds of years. From stories of warriors and deities to scientific observations, the presence of red-haired giants in the island chain has been noted by various sources. This article will examine the various accounts of these unusual inhabitants in Hawaii and explore the likely reasons behind their presence. In doing so, it will investigate the consequences of superstition, racial prejudice, colonialism and scientific inquiry in shaping our contemporary understanding of these giants.
Origin Stories
Many origins stories and myths of red-haired giants have been recorded in Hawaii. Native legends of red-haired beings living in the islands date back hundreds of years. For example, the Hawaiian god ʻKane was said to have red hair, as was the goddess Kaʻahumanu. In other legend, a red-haired giant called Kana Loa was believed to have come to the island on a double-hulled canoe. In more recent times Captain James Cook, who arrived in the Hawaiian islands in 1778, recorded sightings of a number of large, red-haired people in the island group.
Historical Accounts
Colonial records offer further evidence of red-haired giants in the Hawaiian Islands. Reports of red-haired sailors sent to shore as a diplomatic visit to Hawaiians were recorded by European settlers in the early 1800s. In 1821, American settlers described a giant with red hair and large frame who they believed to be a Polynesian, though it is unclear whether the giant was of Tahitian or Hawaiian origin. In 1823, the noted English explorer and adventurer William Ellis encountered a large red-haired Polynesian living on Kauai Island, who was recorded in his journals as a “luminous giant.”
Scientific Studies
In the 20th century, scientific study of red-haired giants was undertaken. In one study conducted by anthropologist Kenneth Emory and physical anthropologist William Ward from the Bishop Museum in Honolulu, it was proposed that the red-haired giants of the Hawaiian islands were likely of Tahitian or Marquesan origin. According to their theory, the early Polynesian settlers likely carried the gene for red hair to the Hawaiian Islands, and the individual variations in hair coloration observed in the population resulted from subsequent migration and intermarriage between different Polynesian groups.
Conclusion
The presence of red-haired giants in the Hawaiian islands is a phenomenon that has been marked by superstitious tales, racial prejudice and scientific inquiry. Through oral histories and colonial records, we have a better understanding of the place and meaning of giants with red hair in the history of Hawaii, as well as a scientific explanation for the individual variations in hair color found in the islanders. In conclusion, we have shown that the phenomenon of red-haired giants in the Hawaiian isles is a fascinating element of island history, one that deserves further study and acknowledgement.
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Once lived a queen with locks of ebony and eyes both blazing ivory, A daughter of pure royalty, A power to rival none other, This was the Queen of Sheba.
Her grandeur soared beyond belief and rivaled the sun’s own glowing rays, A strength and beauty so immense, That even the furthest corners of the world had heard her name.
She set forth and sojourned to a distant land, Equipped with gifts that sparkled in the sand, The wisdom of a queen and refreshing grace, To seek the secrets of King Solomon’s holy place.
The meeting of the two was no ordinary scene, Like two shimmering stars shining bright, The power and wisdom they shared that day, Could light the night sky through the night.
The King himself was truly amazed At the momentous power of such a graceful woman, So honored was he to receive a crown From the hands of the Queen of Sheba.
The heroes of that glorious time have long passed, But the legacy of their glory remains, The memory of the Queen of Sheba, Forever shining in our hearts and brains.
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In yonder tree stands tall with might, A symbol of life, its leaves bright. Its twin pillars represent end and start, Boaz & Jachin, each a life-giving part.
From two distinct sources, a spark comes alive, A paradox formed, of contradictions rife. For from the union of Star Father and Gaia A Christ Child is born, through the Powers of the Fire.
He brings a message of Love and Compassion, Of Harmony and Balance, beyond 3D perception. He carries forth the Tree of Life, an eternal reminder Of Interconnectivity, the Sacred Union of Creator & Nature.
The idea of spiritual attainments and the pursuit of knowledge to gain understanding of the sacred mysteries have been the shared subject of much study and conjecture in the Western world, spanning across different religions and spiritual belief systems. Of the many topics that could be discussed, the shared journey of Pharaoh in Ancient Egypt, the Messiah in Judeo-Christianity, and a Master Mason in Freemasonry contain a set of striking parallels. While each of these paths provides its own unique rituals and obstacles, there are two common unifying elements that run consistently through each of these systems: initiation and divine power.
In Ancient Egypt, Pharaoh was the ultimate figure of spiritual authority, deemed divinely chosen by the gods to act as their conduit. After a period of initiation, which typically included memorization of certain sacred texts and promises of loyalty, Pharaoh would be granted access to a plethora of divine powers. These divine powers would enable the Pharaoh to access knowledge about the universe and the realm of the gods. Similarly, in Christianity, the Messiah is characterized as having undergone an initiation in which he has promised loyalty to God, and upon doing so, is given access to divine powers. These divine powers enable the Messiah to access knowledge of the spiritual realm and ultimately provide salvation to the multitudes.
Finally, in Freemasonry, a journeyman Mason undertakes a series of initiations that enable him to “enter the uncharted mysteries of the fraternity” (Gardner, 2014). Upon successful completion of his initiations, the Master Mason is granted access to divine secrets and esoteric knowledge. In each of the aforementioned traditions, initiation and spiritual authority are unifying elements that are necessary for one to access knowledge of the sacred mysteries and gain an understanding of the divine.
The comparison between Pharaoh in Ancient Egypt, the Messiah in Christianity, and a Master Mason in Freemasonry holds many symbolic links that can be drawn upon and discussed in further detail. These links point to a larger spiritual journey that is intertwined with the practices of each tradition. In particular, the idea of initiation and attaining divine power to access knowledge of the mysteries is a unifying element that is present in each system. While each of these paths is unique, the initiation process and the conferring of divine authority are integral steps that each individual takes in becoming spiritually empowered and enlightened. While it is true that the specifics of each tradition hold many differences, it is undeniable that at their core, these traditions share principles and paths that can be universal for any spiritual seeking.
The Pharaoh of Egypt and Gnostics’ image of Jesus Christ have historically been closely intertwined as a result of their common focus on the pursuit of wisdom. This article provides an examination of the parallels between the Pharaoh of Egypt and becoming a Christ in Gnosticism. Scholarly evidence suggests that there are various connections between the ancient Pharaohs and Jesus Christ in Gnosticism, which can be interpreted as similar to spiritual transformation, initiation, and Gnostic teachings about divine knowledge and enlightenment.
The Pharaoh of Egypt was a powerful ruler and the embodiment of a divine principle. Such a position could only be achieved through initiation, much like the opening of the seven seals that were meant to initiate the Gnostics into the knowledge of god’s mysteries. As such, both the Pharaoh and the Gnostics underwent a transformation, a spiritual ascent to a higher level of understanding and knowledge. According to ancient Egyptian lore, the Pharaoh was believed to be the intermediary between gods and human beings, just as Jesus is in Gnosticism.
In addition, Gnosticism encourages the distinguishing of the secret knowledge held by the divine and the lower, profane knowledge accessible to mere mortals. This distinction is echoed in the ancient Egyptian concept of Ma’at, the divine law, which the Pharaoh was tasked with upholding. The Pharaohs had a special, privileged relationship with the gods that only they could access due to their position—similar to the exalted status of Jesus in Gnosticism.
Finally, the Pharaohs of Egypt were responsible for maintaining a balance between chaos and order. The cosmic duality, or ‘as above, so below’, that is so pervasive in Gnosticism was also deeply important to ancient Egyptian culture. As divine rulers, Pharaohs oversaw the spiritual and physical harmony of their kingdom, much as Jesus provides universal balance through his teachings. In both cases, balance was achieved through a synthesis of the lower and higher realms of knowledge.
The Pharaoh of Egypt and the figure of Jesus Christ in Gnosticism have significant parallels that provide insight into the mystery of the divine. The similarities between these two figures highlight the importance of ascension to a higher level of enlightenment and knowledge and emphasize the divine responsibility that is integral in both societies. This article has demonstrated that the Pharaoh of Egypt and becoming a Christ in Gnosticism have more in common than we might think.
The parallels between the King Making Ritual of becoming a Pharaoh of Egypt and becoming a Master Mason in Freemasonry have become increasingly apparent in recent years as various studies and investigations have been conducted. The groundbreaking book ‘The Hiram Key’ by Christopher Knight and Robert Lomas has added greatly to this knowledge, and has helped to illuminate the many similarities between the two rites. As the authors state, “… the platform of symbolic rituals used by the Egyptian priesthood to initiate a Pharaoh appears to have been adopted and adapted by the Freemasons when creating the Rite of the Master Mason.”
The authors provide an in-depth look at what the then-current interpretation of the Craft’s ‘Third Degree’ included, and also divulge that a number of the features of this degree bear a striking resemblance to certain aspects of the Egyptian Pharaoh’s coronation ceremony. For example, in both ceremonies the candidate is cloaked in mystery and is initially referred to as a ‘lost-found’ person. In Ancient Egypt, during the coronation of a Pharaoh, the candidate would be initially referred to as a ‘lost-found’ until the ceremony was completed. The same term was employed in Liberty Lodge, a Masonic Lodge in London, England that was active during the late eighteenth century – where the candidate was also referred to as ‘lost-found’.
In addition to this, the authors point out that in both ceremonies the candidate is required to visit a ‘tomb of the Grand Master’. Again in the Egyptian coronation ceremony this was represented by the recitation of the akh texts or ‘Opening of the Mouth’ ritual which emphasised the Pharaoh’s union with Osiris in the afterlife. At Liberty Lodge, the candidate was also required to visit a ‘tomb of the Grand Master’, symbolically representing the union with Hiram Abiff – the symbolic father architect of the First Temple of Jerusalem, and the original Grand Master of Freemasonry.
While it can’t be entirely ruled out that the similarities between the two ceremonies were merely coincidental, it’s fair to say that there are strong indications that the Egyptian King Making Ritual provided the Freemasons with a platform on which to base their own rites. The Hiram Key goes on to explore the roots of Freemasonry’s own ritualistic ceremonies much further and it clearly illustrates how the ancient Pharaohs coronation played an important role in the development of Freemasonry as we know it today.
In Isaiah 19:20, the Jewish prophet Isaiah compares the Pharaoh of Egypt to the Messiah, saying, “It will be a sign and a witness to the Lord Almighty in the land of Egypt. When they cry out to the Lord because of their oppressors, He will send them a Savior and Defender, and he will rescue them.”
According to the Dead Sea Scrolls, a collection of ancient Jewish texts, many of the rabbis and sages of the Second Temple period who were writing and interpreting the scriptures viewed the Pharaoh of Egypt as a type of the messiah.
In the Talmud, the ancient Jewish oral tradition, there is an interpretation of Isaiah’s prophecy about Egypt in which the Pharaoh is seen as a type of the Messiah.
The Jewish thinker Maimonides wrote that the Pharaoh of Egypt was a paradigm of the anticipated messiah.
“And I have heard it said in a certain Memphite tradition that the Shepherd Kings had Pharaohs of their own.” – Josephus, Antiquities of The Jews
The theory that the messiah is a parallel to the pharaoh has been a subject of intense academic debate. This paper will discuss how the messiah and pharaoh both play a role in the ancient concept of kingship and how the portrayal of the messiah in the Bible reflects the unique responsibilities of the Egyptian pharaoh in his culture.
In the ancient Near East, pharaohs were believed to be representative of, and even to serve, a higher power. As the absolute ruler of Egypt, the pharaoh was considered to be a living god on earth. The pharaoh was viewed as a divinely chosen leader who was responsible for the well-being and prosperity of all of Egypt. He was expected to act in the best interests of his people, protect them from attack, and ensure justice and good order within the realm.
The Hebrew Bible also includes a figure who was called the messiah or “anointed one” who was expected to act as a ruler and savior. The messiah was seen as a spiritual leader who would redeem the Jewish people from their sins and lead them to a brighter future. Like the pharaoh, the messiah represented a higher power, and his role was seen as essential for restoring justice and peace among the people.
The similarities between the roles of the pharaoh and the messiah extend beyond the concept of kingship. Both figures were subject to periods of suffering and sacrifice. In Egyptian mythology, the pharaoh had to overcome many trials, including death and resurrection, before he could assume the throne. In the Bible, the messiah’s sufferings serve as a kind of atonement for the sins of the people and a way to bring about redemption.
Furthermore, the pharaoh and the messiah had significant cosmic powers. In Egyptian mythology, the pharaoh was seen as the bridge between the gods and mortals; he alone could access the mysteries of the gods, and his will and authority were believed to represent the gods’ will. In the Bible, the messiah is believed to possess spiritual authority that is higher than any earthly authority. His power is seen in the way he can perform miracles, as well as in his ability to interpret the divine will.
The comparison between the pharaohs and the messiah is a useful one when exploring the concept of kingship and the responsibilities of these powerful figures in the ancient Near East. Both the pharaoh and the messiah have a divine mission to carry out and are held to a high ethical and spiritual standard. They are charged with protecting their people and ensuring their well-being. The similarities between the two figures demonstrate how sacred power was seen in the ancient world as well as how much influence kingship could have in a society.
In conclusion, the portrayal of the messiah in the Bible reveals many parallels to the concept of the pharaoh in ancient Egypt. The messiah, like the pharaoh, is a divinely chosen leader who is responsible for the well-being of his people and is subject to both suffering and sacrifice. The similarities between the pharaoh and the messiah suggest that the two figures shared many of the same responsibilities, powers, and expectations of kingship.
Reference : Gardner, D. (2014). Freemasonry: A journey through ritual and symbol. Richmond, Surrey: Thames and Hudson.
Knight, C. and Lomas, R. (1996). The Hiram Key: Pharaohs, Freemasons and the Secret Scrolls of Jesus.
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Prithvi Mudra, translated as “earth gesture,” is a hand mudra, or energy seal, that is commonly used in yoga, meditation, and other spiritual traditions for calming the mind and extending grounding energy. Prithvi Mudra is believed to represent the element earth, and its practice is thought to bring balance and stability to both physical and emotional health.
The mudra is performed by pressing the tips of the ring finger and thumb together while keeping the other three fingers extended. This seal is gentle and peaceful, and it is believed to calm the mind and connect one to the earth, thereby inducing a sense of calmness and stability.
In addition to its calming effects, Prithvi Mudra is believed to have a number of health benefits. It is thought to improve digestion, strengthen bones and joints, nourish the skin, and regulate metabolism. Practicing this mudra is also said to reduce symptoms of stress, fatigue, and insomnia.
Practicing Prithvi Mudra is also thought to improve concentration, intuition, and mental clarity. It is believed to increase focus and aid in both physical and spiritual growth. Additionally, it is used to help cultivate gratitude, generosity, and peacefulness.
In terms of meditation, Prithvi Mudra acts as a grounding tool that helps the practitioner remain grounded and present. It can be practiced anytime, such as before or during seated meditation or pranayama breathing exercises. It can also greatly help the mind remain relaxed and focused during periods of stress and anxiety.
Overall, Prithvi Mudra is a powerful gesture for physical and mental wellbeing that can help to promote a sense of calm, connection, and balance. It is an easy hand mudra to incorporate in everyday life and can provide an array of physical and mental health benefits.
Prithvi Mudra, or Earth Mudra, is an ancient yogic gesture originating in India however is used in various religions around the world today. Although it is predominantly used in Hindu and Buddhist belief systems, Prithvi Mudra also appears in Christian iconography as an embodiment of Jesus Christ.
Prithvi Mudra is a hand position in the practice of yoga, used to honor and connect with the elemental energy of the earth. The mudra itself is made by extending the thumb finger, while folding the other three fingers against the palm. It is believed that Prithvi Mudra creates a sense of groundedness in one’s physical and spiritual foundations.
This spiritual grounding of the earthly world and humanity of Jesus may be why several Christian iconographers have included Prithvi Mudra in their depiction of Jesus in his human form. Some examples of this can be found in the art of El Greco, Michelangelo and other renowned masters. As Christianity emphasizes the spiritual importance of rootedness in the physical body, Prithvi Mudra helps to convey Jesus’ connection to humanity and his ability to understand and sympathize with the everyday struggles of life.
In the Catholic & Eastern Church, Jesus’ presence and embodiment of the earthly world is most notably conveyed in the iconic Eucharistic ceremony. During the ceremony, Jesus breaks bread and says, “This is my body, given for you; do this in remembrance of me.” This gesture of breaking bread, which is connected to Prithvi Mudra in Yoga, brings Jesus’ physical manifestation of the earthly self closer to worshipers.
Apart from his role as an embodiment of groundedness, the use of Prithvi Mudra in Christian art can also be seen as a sign of unity and mutual respect between different religious traditions. Jesus’ inviting gesture combines the power and potential of both Christianity and Yoga and communicates a message of harmony and acceptance between diverse spiritual creeds. Thus, Prithvi Mudra’s utilization in Christian iconography serves as a powerful reminder of how all beings share in the same fundamental needs and goals and how religious and spiritual practices should be used to unite, rather than divide, humanity.
Prithvi Mudra has been found at times a prominent feature in Christian art, as it encapsulates Jesus’ presence on Earth as well as conveys a unified message of acceptance among different religious traditions. By combining the spiritual, physical and symbolic aspects of the mudra, Christian iconographers help to bring Jesus’ relationship to the earthly world to life for people of all faiths and beliefs.
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In ancient times, the use of a musical instrument known as the David harp was common among the Ethiopian Jews, who referred to the instrument as a “kinnor.” A kinnor is a three-stringed instrument that is believed to have derived from the Middle Eastern lyre and is made of an animal skin stretched over a circular wooden sound box. The strings are generally made of sheep gut, which produces a softer and more subtle sound than the strings made of metal which are found in modern harps. The David harvest was named after King David, who is said to have invented the instrument, according to Jewish tradition.
The use of the David harp can be traced back to the ninth century BCE and it is believed to have been brought to Ethiopia through the Jews of the diaspora who were fleeing religious persecution. The Jews of Ethiopia brought the harp with them and it became a part of their culture and practice of ethnic worship. In the 19th century, the instrument was highly popular among Jewish communities and it was used at weddings and religious ceremonies. The harp is also closely associated with the Amharic language, which is spoken in Ethiopia, as it is used to accompany fans during ceremonial singing and story-telling.
The use of a kinnor is mentioned in the Bible in many different contexts, including the story of King David and his use of the harp to calm King Saul (1 Samuel 16:23). The instrument was also seen as a symbol of devotion to God in the ancient world and it is closely associated with sacred practices. In addition, the kinnor was often used in Ethiopian Jewish music to accompany the melodies and rhythms of their religious practices.
The design of the David harp has changed over time and it is believed to be the ancestor of the modern harp. The Ethiopian Jews used a variety of materials in the construction of the David harp and they often decorated the instrument with colorful fabrics or gemstones. The players of the David harp were highly skilled and they often sang and composed their own songs.
Over time, the use of the David harp declined and the instrument was no longer played as frequently as it had been in the past. However, in recent years there has been a revival of interest in the traditional Ethiopian music and the kinnor has seen a resurgence in popularity in some areas.
In summary, the David harp is an ancient instrument that has a long and rich history in Ethiopia. The instrument is closely associated with the practice of ritual worship by the Ethiopian Jews and it has played an important part in Ethiopian culture for centuries. The David harp is also believed to be the ancestor of the modern harp and its use and design have changed over time. In recent years, the instrument has seen a resurgence in popularity and it continues to be used in certain areas.
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Q. What connects all the elements in this title? A. Joseph and Asenath.
Asenath אסנת was the daughter of Potiphar, the high priest of On (Heliopolis), who became the wife of the Old Testament Joseph. We don’t have much information about Asenath from the Torah, but we do get a mythical history in ‘Joseph and Asenath’, a very early apocryphal story from about the 2nd century.
In his ‘The Lost Gospel’, Simcha Jacobovici makes the case that ‘Joseph and Asenath’ is actually a retelling of the Gospel story of Jesus and Mary Magdalene. Which is why the Torah Joseph is being called here a Son of God, and why the Torah Asenath is living in a tower (a Magdal). Just like Rapunzel, Asenath is being symbolically portrayed as being Mary Magdalene, the Princess of the Tower.
Thus it is likely that ‘Joseph and Asenath’ is pesher – a story composed from historical events, that actually reflects and represents contemporary events. Not only does pesher assist in prophesy via precedent, it also hides the true meaning of the contemporary story, which can then safely encode heretical elements.
In addition to this, Joseph is quite obviously being portrayed as Helios, the Sun-god. Which is why we might speculate that ‘Joseph and Asenath’ is more likely a Nazarene text, than a Christian text.
Joseph is described as: … The Saviour … The Son of God … Riding a chariot, with four white horses … Wearing a purple cloak … And a crown with 12 rays, like the rays of the Sun.
This is an overt description of Helios wearing his celestial crown and cloak, riding in his celestial chariot across the heavens pulled by four white horses. ‘Joseph and Asenath’ is not simply a pesher story about Jesus, it is a pesher story about the Solar System.
Asenath is described as: … Living in a Tower (a Magdal) … Having seven attendants, looking like stars
Joseph and Asenath meet, but are not entirely suited to each other (Jewish and Pagan). Then Joseph, as prime minister of all Egypt, has urgent business and goes away for seven days.
While Joseph is away, Asenath throws off her bright clothing and jewellery, and clothes herself instead with black robes covered in ashes. Then she ties her waist with sackcloth, and fasts for all seven days. The ashes are a sign of death, so it is almost as if Asenath is dead.
But then Joseph returns, firstly in spirit form, and then in human form. So Asenath loosens her waist sackcloth, takes off her black garments, shakes off the ashes of death, washes her face with water, and reclothes herself in the bright and splendid clothes of marriage. For she is to marry Joseph.
Quite clearly, this is the origin of the Snow White story, where the bright and white Snow White also has seven dwarf attendants. And like Asenath she too has a corset around her waist to make her thinner, until she ‘dies’. And she too is kissed by a handsome prince, who brings her back to life and marries her.
But as was explained previously, the Snow White fairytale was based upon the orbit of the Moon. Just like Snow White and Asenath, the Moon is brightly jewelled in the night sky, and followed by seven star-like planetary attendants. The Moon is bright and joyful until a sackcloth or corset is wrapped around her, making her appear thinner and thinner in the night sky until she dies. This is the blackness of the New Moon – the death Snow White and the death of Asenath.
Only now can the dead New Moon Selene meet the handsome Helios – an orbital arrangement that can only happen at the New Moon, when Selene is dark and dead. This is Joseph-Helios meeting Asenath-Selene or the Princely-Helios meeting Snow White Selene. The celestial prince and princess then kiss, at the beginning of a Solar eclipse. And as the eclipse proceeds Helios-Joseph-Prince and Selene-Asenath-Snow-White can be seen in flagrante delicto in their celestial bridal chamber in the heavens above, locked in their orbital embrace.
So the fairytale of Snow White is as old as the Moon, and as old as the Gospels. Of course this does not imply that Joseph and Asenath or Jesus and Mary Magdalene were mythical characters. Royalty were expected to mimic the celestial gods in the heavens above, so the celestial syzygy and eclipse had to take place in the royal bridal chamber, as well as in the heavens above.
As Above, So Below. A royal-celestial syzygy. A cosmic consummation.
Images: a. Helios-Sun rides his chariot across the heavens. b. Helios with his Sun-ray crown and purple cloak, on a Nazarene Jewish zodiac. c. Helios-Joseph-Prince kisses Selene-Asenath-Snow White, to bring the dead New Moon back to life. d. Helios-Joseph-Prince and Selene-Asenath-Snow White, with the tower of Repunzel-Mary-Magdalene in the background.
Reposted from Ralph Ellis
Helios-Sun rides his chariot across the heavens.Helios with his Sun-ray crown and purple cloak, on a Nazarene Jewish Zodiac.Helios-Joseph-Prince kisses Selene-Asenath-Snow White, to bring the dead New Moon back to life.Helios-Joseph-Prince and Selene-Asenath-Snow White, with the tower of Repunzel-Mary-Magdalene in the background.
Is there a connection to Shiva and Pan, the Green Man and the Horned God of antiquity?
Throughout the world and throughout history, we find certain archetypal gods of nature have served as the basis for fire worship and worship of the Earth itself. These gods of nature take many forms, but have underlying similarities, of which two of the most well-known are Shiva of traditional Hinduism and Pan of ancient Greek culture. A third god, the Green Man, is a common figure in European culture and folklore, while a fourth, the Horned God associated with European witchcraft is closely related to both Pan and the Green Man. Let us examine the parallels between these 4 gods, and argues that each embodies the same core values and principles, but manifests them in different ways.
Shiva, Pan, the Green Man & the Horned God
Shiva is a major deity in Hinduism, and is most commonly associated with destruction and transformation. He is known by many other names, such as Mahadeva (“Great God”), Maheshvara (“God of Destruction”), Sadashiva (“Eternal God”), and Rudra (“Roarer”). Shiva is commonly depicted as a fierce, wild and untamed figure, and is sometimes seen as a symbol of death, but also of resurrection and renewal.
Pan, who is known by many other names, is a Greek god of nature, the wild, shepherds, flocks, and hunting. Pan is often depicted with the hindquarters, horns, and ears of a goat and is often seen as a highly sexual figure. He has a long history as a god of fertility and is associated with the god Dionysus, who is associated with intoxication, erratic behaviour, and nature’s uncontrollable forces.
The Green Man is an ancient figure found in many European cultures and is often depicted with leaves or foliage sprouting from his body or face. He is usually considered an embodiment of the natural world and is often seen as the personification of the cycle of life, growth, death, and renewal found in nature.
The Horned God, who has many names and manifestations, is closely related to Pan, and like Pan and the Green Man, he is seen as a God of nature and fertility. He is commonly depicted with horns, as well as a beard and often with a club or other weapon. This figure is closely associated with European witchcraft, and has been called a “lord of the forest” and the personification of masculine power and strength.
Similarities Between the Gods
The four figures discussed above share a number of striking similarities. They are all closely associated with nature, particularly with wilderness and the cycles of life and death found in nature. They also share a close association with fertility and with the power of wild and possibly dangerous forces. All of them are seen as embodiments of masculine energy and strength, but also as symbols of renewal and transformation.
In addition, all of the figures are often seen as symbols of fire, and each has his own connection with that element. Shiva is often described as the god of fire, and the sign of his third eye is the symbol of the flame. Pan is often thought of as a god of fire, while the Green Man is a symbol of burning and rebirth, of which fire is an important part. Lastly, the Horned God is closely associated with bonfires and flame, and is a powerful symbol of the regenerative power of fire.
Shiva, Pan, the Green Man, and the Horned God – share many similarities. Each is a god of nature associated with fertility, regeneration, strength, and power. Furthermore, each is imbued with the element of fire, which is a powerful symbol of transformation, life and death. Despite their apparent differences, they can be seen as manifestations of a single, underlying idea: the timeless power of nature, and the forces of life and death that it contains.
Art by Art is Well ????️
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The Narasimha avatar of Vishnu is one of the most popular and important avatars of Vishnu. It is believed to have occurred at the end of the Treta Yuga. The story of Narasimha as told in Hindu mythology is as follows:
The demon king Hiranyakashipu had been granted a boon by Lord Brahma that nothing on earth, neither man nor animal could kill him. Knowing of his invincibility, Hiranyakashipu grew increasingly powerful, prideful and arrogant. As his tyranny worsened, the people of the world started to suffer from his rule.
In response to Hiranyakashipu’s wickedness, Lord Vishnu took the form of Narasimha (half-man, half-lion) in order to save his devotee Prahlada and the people of the world. Vishnu took the form at dusk, knowing that neither Hiranyakashipu nor anyone else would be able to recognize him. Vishnu appeared with terrifying arms, four faces, and power greater than anyone had ever seen before.
When Hiranyakashipu challenged Vishnu to a fight, Vishnu grabbed the demon king and placed him on his lap. Since Hiranyakashipu had been granted that nothing on earth would kill him, and Vishnu was neither man nor animal, the Avatar was able to tear apart the demon king with his fingernails.
This incident marked the end of Hiranyakashipu’s tyranny and the beginning of peace in the world. Vishnu’s act of protecting Prahlada and destroying Hiranyakashipu, demonstrated the power of devotion and taught the world that evil forces will never win in the face of absolute faith and love.
Since then, Lord Vishnu in the form of Narasimha has become one of the most venerated and popular deities in Hinduism. His image can be found in various temples and other places of worship all over the world. Narasimha is also worshipped during festivals and special occasions, usually in the form of prayers and Thirumanjanams (fire sacrifices).
Art by Art is Well ????️
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“We see how the effulgence arising from the Lord Ram, who overcame Ravana in a fair fight, is as brilliant as ever; and since it has an abiding inviolability, no power on earth can undermine it.”
From “God, The Almighty: Commonly Entitled The Second Coming of the Lord,” A Talk Given on the Occasion of the Silver Jubilee of Emperor Haile Selassie I
“The victory of Lord Rama signifies the victory of righteousness and justice. In the same way, we can transform our own lives to a victory of righteousness and justice over all the forces of evil that enslave mankind.”
From a speech given by Haile Selassie I at the 62nd Convention of the Supreme Council of The Order of DeMolay, Washington, D.C, October 2, 1966.
“Lord Rama is an example for whole of mankind, for he was a merciful and just ruler who accepted punishment for his mistakes as readily as he accepted victory for his righteous actions.”
From a speech given on the occasion of the 1975 Silver Jubilee celebrations of Emperor Haile Selassie I.
Haile Selassie I claimed he was a descendant of Lord Rama through his son Kush, who was the father of the Kushites, whom the Ethiopians are historically known as.
Lord Rama & Goddess Sita
Prince of Peace Jah Rastafari
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