The mysterious image of "Godself " has been found all over the world: A lost symbol of ancient global religion?

Currently, there is considerable evidence that ancient civilizations around the world were connected by a powerful religious symbol, which I call "The Image of Godself/ Godself icon" and which is especially noticeable in the architecture of the pyramids.

In my book "Writing in Stone", written in 2011, I showed that all these pyramid cultures used the same three-door "temple-triptych". Another discovery that I reported concerns the image of "Godself" - the image of a central figure, a hero or god, facing forward and holding parallel objects or animals in both hands.

The image of "Godself"

My new book "The Missing Link" presents more than 500 impressive images that testify to the central role played by the image of "God Himself" in such different civilizations as Egypt, India, China, Persia, Mexico, Peru, Colombia, and ancient Europe:

Just as the symbol of the crucifixion unites millions of Christians under one universal religion, so the symbol of Godself (the Divine Self) did the same for our ancient ancestors.

Temples-triptychs

The parallel art and architecture of antiquity - the construction of pyramids, arches with cornices, and mummification-have always interested me, so much so that I started traveling at a young age in an attempt to study these parallels, as well as discover as many parallels as I could find:

The book "Written in Stone" tells the heroic story of how organized guilds of medieval masons-who officially appeared in 1717, calling themselves "Freemasons" - tried to take away the religious narrative from the priests, introducing the lost secrets of this universal religion into the Gothic cathedrals. Gargoyles have nothing to do with Christianity. I realized that the standard drawings of Gothic cathedrals, which assumed the presence of a large central door flanked by two smaller doors, and two towers on either side of the central lobby, were memories of pagan temples in Egypt, Mexico, Peru, China, India, etc.:

The central door is the "source" - the "soul" inside the body. The twin doors are the opposite bodily forces of duality that surround the soul on both sides, and which the soul must resist and master in life.

The universal religion of the Triptych temple formed the basis of other secret societies besides Freemasonry, including the Knights of Pythia, "Skull and Bones" and Shriners, all of which use the Triptych entrance in their headquarters:

The main facade of the Rockefeller Center in New York depicts one of the most striking esoteric triptychs of our time. It depicts the image of "God" in the central doorway "Godself", balancing between male and female opposites. Please note that God is holding a compass - a key Masonic symbol:

Like the Triptych, the image of Godself represents the soul of a hero or a sage who balances his opposite bodily forces, represented by twin objects held symmetrically in each hand. Godself calls us to develop our inner strength and spiritual potential by balancing the two opposing forces within us (through meditation) and by diligently improving our physical and mental abilities.

The concept of an external "God", as in the usual monotheistic and polytheistic religions, distracts from the true purpose of religion, which, in my opinion, is to recognize the eternal nature of our own spiritual being and to educate "Godself" within himself.

The image of "Godself" inspired the logos of companies such as Starbucks.

A beautiful variation of the image of God Himself can be seen at the Rockefeller Center. The double opposites are symbolized by the masks of Comedy and Tragedy, located to the right and left of the goddess:

The Golden Era

The origins of the image of God Himself (Everyone is God to himself) can be traced back to the" Mother Culture " of the Golden Age, which may have existed in the prehistoric past. Some Victorian scholars associated the Golden Age with Plato's Atlantis, as well as with the ideas of the rise and fall of civilization during the period corresponding to the zodiacal precession of the equinoxes, which lasts approximately 25,000 years. Plato called this period the "Great Year"; the ancient Greeks, even before Plato, associated the Great Year with the seasons. Similar theories underlie such phenomena as the Mayan and Aztec calendars, as well as the Hindu concept of Yuga.

Recently, some alternative researchers have seized on this idea of the Golden Age, claiming that a "technologically" developed civilization flourished in the distant past. These researchers make the mistake of projecting the spirit of our time into the distant past, instead of paying attention to what the ancients tried to tell us. Plato describes the Golden Age as a "spiritually" developed civilization, not a "technically" developed one. The death of this civilization occurred because the Atlanteans stopped identifying themselves with their "divine" nature (God-Autocrat):

"For many generations... they obeyed the laws and loved the divine with which they were connected... But when the divine element in them weakened... and human traits began to prevail, they ceased to be able to carry their prosperity with moderation. "- Plato, " Timaeus.

More ancient=More developed

We see evidence of the remnants of the Golden Age not only in the general language of symbolism left by our ancient ancestors but also in the general architecture (for example, the Triptych temple). The ancient civilization is characterized by a remarkable skill in masonry. One of the most amazing facts about ancient masonry is that many of the greatest structures are among the most ancient:

In Italy, for example, Etruscan aqueducts and monuments are more densely located to each other than later structures of the Roman era. The Great Pyramid of Cheops is thousands of years older than the smaller pyramids surrounding it. The aqueduct in Segovia, Spain (it is believed that it is Roman), is much more perfect than later aqueducts.

The development of many technologies in the ancient world often seems to reflect degeneration and decline rather than progress. Perhaps this is really the result of a genuine pattern of the Great Annual Cycle of Decline and Fall of civilizations when the great period of spiritual achievements occurred more than ten thousand years ago, and it was followed by a period of increasingly accelerating spiritual decline.

A little skepticism. Let's look at it objectively. Most of the monumental structures are made with technologies as similar as possible to modern ones, and many are superior to ours. Those who were in Geipt saw traces of a milling cutter, who were in South America saw polygonal masonry. There are a lot of examples to give. It is not necessary to write off everything on the cultural and theological components. Traces of a highly developed civilization with technology everywhere!

Masonic signs of the Cross

Many pieces of evidence that could shed light on the meaning of the image of "Godself" were destroyed by the conquistadors, crusaders, Mongol hordes, and slave traders. My presentation highlights the crucial role of medieval masons in preserving ancient symbols, such as the image of Godself, to the present day. Gothic cathedrals are full of wonderful examples of the image of Godself:

The decisive one for me was the image of Rebis, an androgynous alchemical drawing published in 1613. The sun is over his right shoulder; the moon is over his left:

Rebis is the ancestor of the Masonic kalkura, which depicts similar doppelgangers; as on kalkura, Rebis ' message is to overcome duality with the help of mystical techniques that include the ancient practice of balancing opposites to find the center. Pay attention to the Masonic symbols of the square and compass in the left and right hands of Rebis - simple tools used for the construction of incredibly perfect stone monuments (pyramids, aqueducts, cathedrals), which to this day remain evidence not of the "technological" power of the ancients, but of their "spiritual" integrity.

Most Freemasons have no idea what their symbols mean. My research has convinced me that the "lost secret of Freemasonry" is the same as the" lost secret of the Incas" and the same as the "lost secret of the Egyptians". The image of "Godself", which is identical in form and meaning in places as far apart as Egypt and Peru, is an important key to understanding the origin and fate of humanity.

Richard Cassaro is an author, lecturer, director, and guide from New York, living in Madrid. His published books "Written in Stone" (2011)," The Missing Link "(2016), and "Mayan Masonry" (2018) offer rare information about ancient megaliths, spirituality, mythology, magic, symbolism, secret societies, comparative religion, and occult archaeology. Cassaro has spoken about his work on the History Channel and in documentaries such as "Magical Egypt 2". His articles have appeared in print magazines and web media around the world; he has given well-received lectures on his discoveries in the UK, Italy, Peru, Egypt, Spain, Mexico, Cyprus, and the USA.

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About author:

Serg Toporkov Ufologist, Ph.D., blogger, I go on my own expeditions for UFOs. I use scientific methods to investigate the UAP phenomenon. Write to me

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conspiracy theory  godself  mysterious  Egypt  Mexico  Peru  Triptych