Tell the tale of Mary Magdalene the rightful heir of long and great family Her name has been forgotten and blurred Lies and truths will soon be heard
She carried Jesus’ love and will Anointed with great understanding and skill A secret church that no man can see A passage of faith so powerful and free
She was the treasurer of the loving way A descendent of a king and queen arrayed Subject to persecution and pain Yet still persevered as she sustained
A messenger who brought light to darkness Gnosis, wisdom lead to brightness Truest faith, Union with the Divine Forever and ever will Mary Magdalene shine
Maria Magdalena
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Native Hawaiian culture is a unique and special piece of the Polynesian melting pot. One of the most famous aspects of this culture is the worship of the god Lono. Hawaii has been called Lono of the Vastness since ancient times. In this article, I will discuss the origin and meaning of the name, as well as its connection to traditional Hawaiian culture.
The name Lono comes from the Hawaiian god Lono, who is credited with bringing the laws and customs that are important to Hawaiian culture and beliefs. Lono is a god of peace and fertility and is known as the King of the Isles and Lord of the Skies. He is seen as a provider of life, fertility, and prosperity. The word lono actually means “plenty” or “abundance”.
The origin of the name Lono of the Vastness comes from an ancient Hawaiian creation story. According to this story, the god Kane and the goddess Hina created four islands: Hawaii, Kauai, Oahu, and Maui. Following the creation of the islands, Kane and Hina decided to name them. They chose the name Lono for Hawaii, based on the god Lono’s bounty of abundance and fertility.
The connection between Lono and Hawaii is strong and deeply embedded in Hawaiian culture. Lono is seen as a source of protection and abundance, and is celebrated in the annual Makahiki festival. The Makahiki festival is a time of spiritual renewal and is meant to honor and thank Lono for the abundance and prosperity that come to the islands.
Lono is also seen as the protector of the islands. Ancient Hawaiian chiefs regularly prayed to Lono in their efforts to bring protection and prosperity to their people. This connection to the spirit world has been seen as an important part of Hawaiian culture and beliefs, and the name Lono of the Vastness reinforces this connection.
The name Lono of the Vastness is an important part of Hawaii’s history and culture. It is a reminder of the god Lono and his role in Hawaiian mythology and beliefs. The connection of the god to the islands can be seen in the celebration of the Makahiki festival, as well as the prayers from Hawaiian chiefs for protection and abundance. These all make clear why Hawaii is sometimes called Lono of the Vastness.
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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.
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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The Elohim are an extremely ancient pantheon of deities, with a mysterious and complex history. Though their exact origin is unknown, the earliest mentions of their name and worship appear around 3,000 B.C.E in Mesopotamian mythology, the precursor to the many religions that followed. They were first mentioned in the ancient Babylonian epic poem Enuma Elish, and were believed to be divine figures controlling the world, with the gods of the other ancient cultures interpreted by early historians as their children or servants.
The Elohim appear many times throughout Old Testament scripture, often used synonymously with the God of the Hebrews. This does not mean that the Elohim are the same as Yahweh, the God of the Israelites, but rather that the Elohim predate the faith and are at times confused with God. It is believed that the Hebrews adopted the Elohim for their own religion, as the Elohim embodied broad aspects of the godhead that fit with the idea of a singular, all-powerful deity.
While the Elohim are most commonly associated with Judaism, they are also found in many other religions, such as Kabbalah, Hermeticism, and Gnosticism. The Elohim were central to the teachings of many mystic movements, used as a tool by mystics to gain insight into the metaphysical. They were seen as transcendent, powerful, and all-encompassing, but their characteristics and purposes varied according to the tradition interpreting them. This was seen to emphasize the incredible power of the Elohim, and their ability to transcend the boundaries of any one religion.
In the modern world, the Elohim are often associated with occult and new age spirituality. They are seen to represent the divine in all its forms, with many linking them to the power of the supernatural and cosmological forces. Despite their ancient origin, the Elohim remain incredibly popular today as a source of spiritual guidance and inspiration.
In summary, the Elohim are an incredibly ancient pantheon of deities, whose origin and meaning continue to be heavily debated by historians and theologians. They are found in multiple ancient faiths, and are the source of mystical and spiritual power in many modern interpretations. Despite their mysterious past, the Elohim remain an important and powerful figures in the world of religious and spiritual studies.
Elohim
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