Serapis & Isis as serpents & little Harpocrates (I am still looking for the location of this artwork)
Gardens of Mesopotamia.
In the 19th Dynasty, about thirty two centuries and ten decades ago, there was a child, born to take that throne to rule the kingdom, the third king of 19th Dynasty, Ramesses II. The reign (1279-1213 B.C.) in which he ruled was the longest reign in the history of Egypt. His name meaning is the “Keeper of Harmony and
The symbols in the upper register of this land-boundary stone (and many others like it) represent the gods Ishtar or Venus (the star), the moon god Sin (crescent) and the sun god Shamash. Other symbolism is in the same genre, gods and heavenly powers, some very similar to zodiacal signs. The writing is cuneiform, with a curse on anyone who questions the land ownership or damages the stone.. The British Museum, London
After a 35-year search, an Israeli archaeologist is certain he has solved the mystery of the biblical figure’s final resting place
Epopea di Gilgamesh è il più antico poema epico della storia dell'umanità. Ha infatti preso forma in Mesopotamia nel III millennio a.C., secoli prima dei
In Plato’s Symposium (189–190 AD), Aristophanes displays knowledge of an ancient myth of the androgyne, according to which our original nature was by no means the same as it is now.
A relief from the palace of Ashurnasirpal II (883-859 BC) showing an Asherah Tree with male figures holding anointing oils. The winged figure over the tree is interesting, suggesting to some the "winged Isis", or a precursor to the Holy Spirit, the third member of the Christian "trinity". One of the great things about making art, one discovers, is that it's a way of "writing down" one's inner "iconography". Most of the time, it's a way of just beginning to see (literally) what that iconography of the inner self actually is. And then the conversation can begin, because the language is being translated............ For many years I've made "tree of life" images. I'm not sure where I got the image from originally. In early lithographs there was always a woman within the tree form, or the Tree was a backdrop to everything else in the painting (not unlike the Web motif I also became fascinated by in later "Spider Woman" pieces). In my 1993 "Lovers" card from the Tarot, or the 1986 lithograph "Axis Mundi" the "tree" is ubiquitious, and later I started making sculptural torsos, the Mother within the Tree. Recently I had reason to learn about Asherah, the ancient Mother Goddess associated with the early Hebrews and early (pre-monotheistic) Judaism, with the neighboring Canaanites, and even earlier origins. I have not studied this Goddess much, being only vaguely aware of the name. Asherah was often represented as a tree, among them the ubiquitous "Asherah poles" (ashirim) associated with Her worship in early (pre-monotheistic) Judaism. *** There is evidence that these wooden icons, and possibly, actual trees intentionally planted as icons or shrines) were meant to be representations of Asherah. Asherah is sometimes referred to as the wife of Yahweh, whose name became something that could not be uttered, only represented as "the Lord". The Asherah poles, and eventually the name of Asherah, were banned from worship as Judaism became monotheistic and established the sole deity as male. Interestingly, with the early advent of Gnostic Christianity, Asherah is perhaps re-born in the form of Sophia, the feminine face of deity, often called the "mother" or sometimes "wife" of Yaweh. The emblem for Sophia was often a dove. I never would have associated the Tree of Life archetype, which has been a part of my spiritual vocabulary for more years than I remember, with Asherah had I not investigated just recently because of a visionary experience during a healing session. I had some energy work done last week with an alternative healer. Not unlike Reiki practitioners, although her system had a different name, she worked with me for over an hour, helping me to enter into an altered state of consciousness, kind of like a meditation, while she, in channelling energy to work with me, also entered into an open, meditative state. As I closed my eyes, the session began for me with the appearance of a white dove that visually manifested right before my (closed) eyes. But not a literal kind of bird, more like a sacred emblem, what one might see in a church. I immediately thought of the "Dove of Sophia", which is of course associated with Peace to this day. And as a Christian icon representing the Holy Spirit, it may very well be that the origins of the Dove go all the way back to Gnosticism and Sophia. Who, like Asherah, was removed from patriarchal monotheistic theology, Her symbols often co-opted to support the later mythos of a strictly male deity without a wife, mother, or, for that matter, a daughter either. The healer, after the session was over, told me that she clearly saw a Goddess form present during the healing. She said that the Lady put a kind of crown or headpiece on my head that was "light filled", and she also cast a kind of "net of stars" over me (which perhaps means protection (?) The healer, who is not much familiar with Goddess archetypes, said that the name she got was "Ashara". She also mentioned that somehow trees or wood were associated. I couldn't think of what that meant, until I looked it up on the Internet later, and then (of course!) discovered the Hebrew Goddess "Asherah". I've felt this year is about healing for me, healing the family karma which means understanding familial wounds and changing them into (hopefully) wisdom instead of re-action. I think this year, with so much chaos and divisiveness in the world as well, has been about the difficult and disturbing rite of passage of becoming a Saga, an old woman. A hopeful thought is that, perhaps, this is what is also going on a bit collectively. Rites of passage, in my experience, are never particularly easy or comfortable, cozy or even predictable. They are thresholds. And how is it possible to talk of healing the wounds that are "personal" without seeing that they are also interwoven with what is universal? Familial abuse is about social abuse as well as the long reach of ancestors, going back, going forward. Roots. And beyond that....... the Tree of Life, the roots beneath, the leaves above. All things woven. Visions, like dreams, have multiple layers of meaning, and like dreams, exist outside of time. In my experience Spirit communicates in visionary, symbolic, mythic ways. This visioning was a blessing for me, and something I will continue to contemplate and ask to understand. "Asherah" (Artist unknown) ----------------------------------------------------------------------------------- *** https://en.wikipedia.org/wiki/Asherah_pole Asherah pole From Wikipedia, the free encyclopedia An "Asherah pole" is a sacred tree or pole that stood near Canaanite religious locations to honor the Ugaritic mother-goddess Asherah, consort of El. The relation of the literary references to an asherah and archaeological finds of Judaean pillar-figurines has engendered a literature of debate. The asherim were objects related to the worship of the fertility goddess Asherah, the consort of either Ba'al or, as inscriptions from Kuntillet ‘Ajrud and Khirbet el-Qom attest, Yahweh, and thus objects of contention among competing cults. In translations that render the Hebrew asherim into English as "Asherah poles," the insertion of "pole" begs the question by setting up unwarranted expectations for such a wooden object: "we are never told exactly what it was", observes John Day.[4] Though there was certainly a movement against goddess-worship at the Jerusalem Temple in the time of King Josiah, (2 Chronicles 34:3) it did not long survive his reign, as the following four kings "did what was evil in the eyes of Yahweh" (2 Kings 23:32, 37; 24:9, 19)[citation needed]. Further exhortations came from Jeremiah. The traditional interpretation of the Biblical text is that the Israelites imported pagan elements such as the Asherah poles from the surrounding Canaanites. In light of archeological finds, however, modern scholars now theorize that the Israelite folk religion was Canaanite in its inception and always polytheistic, and it was the prophets and priests who denounced the Asherah poles who were the innovators (of monotheism with an exclusive male god). Asherim are mentioned in the Hebrew Bible in the books of Exodus, Deuteronomy, Judges, the Books of Kings, the second Book of Chronicles, and the books of Isaiah, Jeremiah, and Micah. The term often appears as merely אשרה, (Asherah) referred to as "groves" in the King James Version, which follows the Septuagint rendering as ἄλσος, pl. ἄλση, and the Vulgate lucus, and "poles" in the New Revised Standard Version; no word that may be translated as "poles" appears in the text. Scholars have indicated, however, that the plural use of the term (English "Asherahs", translating Hebrew Asherim or Asherot) provides ample evidence that reference is being made to objects of worship rather than a transcendent figure. The Hebrew Bible suggests that the poles were made of wood. In the sixth chapter of the Book of Judges, God is recorded as instructing the Israelite judge Gideon to cut down an Asherah pole that was next to an altar to Baal. The wood was to be used for a burnt offering. Deuteronomy 16:21 states that YHWH (rendered as "the Lord") hated Asherim whether rendered as poles: "Do not set up any [wooden] Asherah [pole] beside the altar you build to the Lord your God" or as living trees: "You shall not plant any tree as an Asherah beside the altar of the Lord your God which you shall make". That Asherahs were not always living trees is shown in 1 Kings 14:23: "their asherim, beside every luxuriant tree". However, the record indicates that the Jewish people often departed from this ideal. For example, King Manasseh placed an Asherah pole in the Holy Temple (2 Kings 21:7). King Josiah's reforms in the late 7th century BC included the destruction of many Asherah poles (2 Kings 23:14). Exodus 34:13 states: "Break down their altars, smash their sacred stones and cut down their Asherim [Asherah poles]." Some biblical archaeologists have suggested that until the 6th century BC the Israelite peoples had household shrines, or at least figurines, of Asherah, which are strikingly common in the archaeological remains. Asherah, detail from an ivory box from Mīna al-Bayḍā near Ras Shamra (Ugarit), Syria, c. 1300 BCE; in the Louvre, Paris . Raphael Patai identified the pillar figurines with Asherah in his book (forward by Merlin Stone) The Hebrew Goddess. https://en.wikipedia.org/wiki/Asherah_pole
Cosa significa sollevare 340 Tons = 334,628 Tonnellate con le tecniche di oggi : Michael Heizer (Berkeley, 1944) è un
Egyptian wall paintings and relief art Amenhotep III Representation at Karnak Temple Complex, Luxor The extent to which the ancient history of Egypt was recorded by their artists is remarkable. Ancient Egyptian art displays a vivid representation of the Egyptian's lifestyle, spiritual rituals and belief systems. The artists weren't concerned with representing the world with any realism or having a sense of depth in their art. The Egyptian art was primarily concerned, above all, with ensuring the continuity of the universe, the gods, the king and the people.The artists therefore depicted things not as they saw them but as idealized
- Ekonomi - Habertürk Galeri
Com’è possibile , tagliare enormi blocchi di pietra e trasportarli anche per grandi distanze , dopodiché metterli in opera con
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Some "sloppy" work. Has resisted 1000 years of industrial strength earthquakes. To appreciate the photo above, scroll to the right. Wikipedia's Inca Architecture entry: http://en.wikipedia.org/wiki/Inca_architecture Inca TV Broadcast May 12, 1998 (check local listings) Live Web Event, May 12, 1998 at 9 pm Eastern How were the Inca fortresses built? Inca technology was simple. They had no written language, knew few basic machines, did not use the wheel or the block and tackle, and smelted no high-strength metals. They maximized their Late-Stone-Age technology with a genius for communication and organization. The Inca fortresses have survived many centuries of violent volcanic earthquakes; indeed, they have survived better than solid European-style colonial buildings. They are constructed of massive stones fitted to one another with complex, knife-edge precision joints that bind the structure even when the ground trembles. A razor blade still cannot be inserted between them. How did the Incan craftsmen shape and fit together such enormous stones without metal tools? Architect Vince Lee helped us figure out one way in which the Inca could have handled the smaller stones. But how the Inca carved and fitted together 100-ton blocks of stone remains a mystery. On May 12, Lee responded to questions during a live event, and to additional questions e-mailed to this Web site for one week thereafter. Check out the archived questions and answers. Secrets of Lost Empires Home | Stonehenge | Inca | Obelisk | Colosseum | Teacher's Guide Editor's Picks | Previous Sites | Join Us/E-mail | TV/Web Schedule About NOVA | Teachers | Site Map | Shop | Jobs | Search | To print PBS Online | NOVA Online | WGBH © | Updated November 2000
Description of the historical city of Cuzco in Peru, a UNESCO World Heritage Site, including colonial buildings and wonderful sites from the Inca period, Ollantaitambo, Sacsayhuaman and Machu Picchu. another UNESCO World Heritage Site
Amnte Nofre - Egyptian Religion — the ‘Ipet-Resyt’ Temple of the God Amon at...
~~~ Chapter Twenty-three An Old Foe Returns Five weeks after they had left Rize on Turkey’s northern coast, the weary and dusty party finally saw their goal in the distance. Göbekli Tepe sits at th…
Ancient Epics like Gilgamesh of Sumerian Civilization In Mesopotamia explained as Anunnaki Ancient Aliens propaganda
Mesopotamia (from the Greek, meaning 'between two rivers') was an ancient region located in the eastern Mediterranean bounded in the northeast by the Zagros Mountains and in the southeast by the Arabian...
