And Jesus was a literary figure. My mind is blown.
THE ONCE AND FUTURE SKY GOD? – From Göbekli Tepe to The Zodiac – and Beyond…
- Thread starter Michael B-C
- Start date
Wow! This has been an interesting read. As others have said, you have put it together as though it is a book. You write exceptionally well and your research skills are top notch! I can tell that your passion for the subject matter runs deep. The read has shed much light on the history surrounding the younger dryas. I was lead here by my quest to find the answer to what is the true history of the planet and of humans.
I find all of this incredibly interesting regarding the predator giving us their mind as well as the cosmic implications with the sky gods who as we know are comets and a rogue planets. It occured to me last week after reading two pages of this thread and while finishing Mike Billie's From Exodus To Arthur that the story of David and Goliath is more than likely not a story of beings who lived on earth but rather a depiction of the "gods" battling in the sky. David is a serpent king afterall. I digress.
I had some thoughts come to mind to me over the course of reading the thread. It seems most of them happened this evening.
I lost the very last bit of this quote. Anyway.
Regarding the image shown above this quote. It has been thought that perhaps the six fingers is an allusion to the Pleiades after the seventh star was removed/separated. In line with this it seems to me that the object the man is dangling in front of the bull/auroch is none other than the Cleft leg of Taurus. It also crossed by mind that the six fingers may have something to do with 6th density however I see no connection as to why this would be likely in the context of the story you have laid out for us.
I'm vaguely familiar with birkeland currents because of Secret History volume 3 but past that I know nothing. I take it from the above that the Z pinch itself is what disintegrates? Does this disintegration have a correlation to the segregation from STO to STS or would that be as the C's say: incorrect concept?
This thought came to me because the upright H (good upheld) goes with the electrical phenomenon with the toroid and then following the disintegration the sideways H appears (good defeated)
I also find it interesting that we often see mouths being represented as a toroid. Is this an allusion to "singing" or rather a certain frequency? Your reference to singing as language brought this to mind.
We know of Scandinavian women who can call cows with song. I find it very interesting that you posit that singing was a means of communication before phonetic speech which was brought by the STS (neanderthal hybrids.) It seems to me that this links hand in hand with the Aliens using speech in meeting with the human PTB on earth - why would aliens use speech if they're telepathic? Aside from everything discussed in that thread regarding telepathy and the laws aliens are bound in 3rd density, I just find the speech odd seeing as this thread and that Cass transcript occur in the same time frames.
For my final thought I would like to point out the fact that the serpents on these pillars as we know, look like comets. But I find it interesting that we see figures with erect penises on reliefs in conjunction with these serpent/comet and dare I say penile representations especially considering the Y-chromosome bottleneck. And concerning rituals these serpent reliefs remind me uncannily of magic mushrooms.
I'm interested to see if you come back to the fox and Mars and comets and how they all relate to the younger dryas event
Thank you very much for laying all off your research out for us, it's a lot of fun to learn (about this stuff.)
I find all of this incredibly interesting regarding the predator giving us their mind as well as the cosmic implications with the sky gods who as we know are comets and a rogue planets. It occured to me last week after reading two pages of this thread and while finishing Mike Billie's From Exodus To Arthur that the story of David and Goliath is more than likely not a story of beings who lived on earth but rather a depiction of the "gods" battling in the sky. David is a serpent king afterall. I digress.
I had some thoughts come to mind to me over the course of reading the thread. It seems most of them happened this evening.
Not to mention the fact that rubber ducks did not exist during the time of Gobekli Tepi
At first I thought maybe the men were taken by higher levels STS forced but it may also stand to reason that because the STS invaders from the north were Neanderthal hybrids and therefore psychopathic that perhaps they culled the creative male population (cro magnon?) Which would then make it quite easy to spread their genetics into the human population.
It seems to be the complete opposite now; Michael has corrected himself on the Y-chromosome bottleneck ie. At the peak there was only 1 male reproducing for every 17 females reproducing.
May I ask where these caves are that you visited? I myself plan on going to see the Maguira cave in Bulgaria in the future.
I lost the very last bit of this quote. Anyway.
Regarding the image shown above this quote. It has been thought that perhaps the six fingers is an allusion to the Pleiades after the seventh star was removed/separated. In line with this it seems to me that the object the man is dangling in front of the bull/auroch is none other than the Cleft leg of Taurus. It also crossed by mind that the six fingers may have something to do with 6th density however I see no connection as to why this would be likely in the context of the story you have laid out for us.
Okay this is interesting. It makes makes me wonder if the breakdown of this electrical formation during a birkeland current z pinch has something to do with a window of opportunity for STS to take STO.
I'm vaguely familiar with birkeland currents because of Secret History volume 3 but past that I know nothing. I take it from the above that the Z pinch itself is what disintegrates? Does this disintegration have a correlation to the segregation from STO to STS or would that be as the C's say: incorrect concept?
This thought came to me because the upright H (good upheld) goes with the electrical phenomenon with the toroid and then following the disintegration the sideways H appears (good defeated)
I also find it interesting that we often see mouths being represented as a toroid. Is this an allusion to "singing" or rather a certain frequency? Your reference to singing as language brought this to mind.
We know of Scandinavian women who can call cows with song. I find it very interesting that you posit that singing was a means of communication before phonetic speech which was brought by the STS (neanderthal hybrids.) It seems to me that this links hand in hand with the Aliens using speech in meeting with the human PTB on earth - why would aliens use speech if they're telepathic? Aside from everything discussed in that thread regarding telepathy and the laws aliens are bound in 3rd density, I just find the speech odd seeing as this thread and that Cass transcript occur in the same time frames.
I think... I dare say that I know you are correct. This explains somewhat where the toroid mouths come from. Looking at the pictures of the electrical phenomenon with the H transposed it reminds of an hourglass and something tells me that the two are linked but I cannot say quite how or if the thought has any basis in reality.
For my final thought I would like to point out the fact that the serpents on these pillars as we know, look like comets. But I find it interesting that we see figures with erect penises on reliefs in conjunction with these serpent/comet and dare I say penile representations especially considering the Y-chromosome bottleneck. And concerning rituals these serpent reliefs remind me uncannily of magic mushrooms.
I'm interested to see if you come back to the fox and Mars and comets and how they all relate to the younger dryas event
Thank you very much for laying all off your research out for us, it's a lot of fun to learn (about this stuff.)
Thanks for the link! It would be great to see this in person.
Regarding Obsidian, Michael B-C, here is what was found (lost the quote markers in my copy):
Michael B-C
With your added focus "including our old friend from the north, Obsidian" which has been held in mind since your earlier examples. To the north includes Siberia, drifting across the land bridge into North America, which you also bring up later in your series regarding the West Coast tribes (still thinking on that part from the UBC papers).
Back to Obsidian, though:
{link below}
Which saw very active use of Obsidian on the island of Zhokhov. How it was explained is of a vast network of land when the water was 3-400 feet lower - what was going on 'up there' during the Early Holocene may have implications long buried or washed away. What has been lost to water cannot be known, which brings up vast possibilities from the Siberian arctic right across to the Canadian arctic that was in a different state from Siberia - ice.
The Obsidian beds seemed to point to Lake Krasnoe at Chkuota Peninsula, which was 1500 km. from Zhokove. A summary conclusion based on Pitulko, looks to:
Can't help wonder what the population base was in the Northern lands at the same or earlier times then Göbekli Tepe, off to the sides of the ice, where many parts were ice free, including parts of Alaska and what looks to be in much of Siberia and off the coast of Siberia.
Thus, did not see mention of Zhokhov Island on the forum, so adding this as a point of interest due to the Obsidian:
novoscriptorium.com
{the following is is added in as it may not fit timeline-wise, however it is very close to Zhokhov Island - see this recently from SOTT:
'Prehistoric' mummified bear discovered in Siberian permafrost isn't what we thought, nor do we know how it got there -- Sott.net
It said the Bear was in the permafrost from "3,500 years ago" however maybe that is not accurate.
Zhokhov in red box:
Bear location:
}
Also, in Siberia and just South below the present day main Russian coastline where Zhakhov Island sits, is a place called Ulakhan-Sis - have a look here:
Was struck by this place, in that the rock seem to tell a story of the mass movement of small materials (such as can be seen (mud/clay/silts/gravels) down into the confluence point that then drained out to the sea below the islands, possibly covering up sites on Zhakov Island - laid across the last remaining elevated places above present day water) being swept away when the great plateaus of ice (or a deluge of some sort) left following the cosmic changes that took place, whatever cause that exactly was and its time period.
Of the East Siberian Sea itself, wiki notes "as well as shallow depths (mostly less than 50 m)," and this is a vast area as seen, right to Alaska and along the Northern Canadian coastline drift (depths may vary). Take Hudson Bay for example, wiki states that "The bay is relatively shallow and is considered an epicontinental sea, with an average depth of about 100 m (330 ft)," which would, like much of the coast above Hudson Bay have been relatively water free given the rise of the oceans 3- 400 ft. (the compression part related to ice on North America may have influenced Siberia (lifted) and later it sunk and the water rose (many possibilities and timelines).
One last point is that of Lake El'gygytgyn, a meteor strike to be sure, however when is cited as being 3.6 million years old, yet never properly surveyed (they say due to ice - and these days it is frozen over much of the year). Note the location to the above.
Whatever the case, it is very impressive.
Back to Zhokhov:
There is also this:
Here is what the site looks like now:
That makes for an interesting pre-forested landscape in which to utilize birch bark (no doubt Bears like the one in the permafrost above where there).
From this paper:
Back to Vladimir V. Pitulko, as he leads one to think of such a vast network of southern trade, and Siberia (and elsewhere in the arctic) that may well have been front and center as a prior hub, influencing the south and also seeding the south once things fell apart.
The last thing not put here (lost all the links) is the network of caves that angles south in Siberia that are full of petroglyphs similar to what Michael B-C shows in the area N-NE of Göbekli Tepe. Like a big trading route of hunter gatherer - from Siberia SW thousands of miles - "our old friend from the north, Obsidian" indeed.
Michael B-C
With your added focus "including our old friend from the north, Obsidian" which has been held in mind since your earlier examples. To the north includes Siberia, drifting across the land bridge into North America, which you also bring up later in your series regarding the West Coast tribes (still thinking on that part from the UBC papers).
Back to Obsidian, though:
{link below}
Which saw very active use of Obsidian on the island of Zhokhov. How it was explained is of a vast network of land when the water was 3-400 feet lower - what was going on 'up there' during the Early Holocene may have implications long buried or washed away. What has been lost to water cannot be known, which brings up vast possibilities from the Siberian arctic right across to the Canadian arctic that was in a different state from Siberia - ice.
The Obsidian beds seemed to point to Lake Krasnoe at Chkuota Peninsula, which was 1500 km. from Zhokove. A summary conclusion based on Pitulko, looks to:
Can't help wonder what the population base was in the Northern lands at the same or earlier times then Göbekli Tepe, off to the sides of the ice, where many parts were ice free, including parts of Alaska and what looks to be in much of Siberia and off the coast of Siberia.
Thus, did not see mention of Zhokhov Island on the forum, so adding this as a point of interest due to the Obsidian:
Zhokhov Island in the Siberian High Arctic; long-distance (1,500km) exchange of obsidian during the Early Holocene
Provenancing obsidian facilitates the study of the procurement and exchange of this valuable raw material with a high degree of certainty. It can also be used indirectly to document prehistoric hum…
novoscriptorium.com
{the following is is added in as it may not fit timeline-wise, however it is very close to Zhokhov Island - see this recently from SOTT:
'Prehistoric' mummified bear discovered in Siberian permafrost isn't what we thought, nor do we know how it got there -- Sott.net
It said the Bear was in the permafrost from "3,500 years ago" however maybe that is not accurate.
Zhokhov in red box:
Bear location:
Also, in Siberia and just South below the present day main Russian coastline where Zhakhov Island sits, is a place called Ulakhan-Sis - have a look here:
Was struck by this place, in that the rock seem to tell a story of the mass movement of small materials (such as can be seen (mud/clay/silts/gravels) down into the confluence point that then drained out to the sea below the islands, possibly covering up sites on Zhakov Island - laid across the last remaining elevated places above present day water) being swept away when the great plateaus of ice (or a deluge of some sort) left following the cosmic changes that took place, whatever cause that exactly was and its time period.
Of the East Siberian Sea itself, wiki notes "as well as shallow depths (mostly less than 50 m)," and this is a vast area as seen, right to Alaska and along the Northern Canadian coastline drift (depths may vary). Take Hudson Bay for example, wiki states that "The bay is relatively shallow and is considered an epicontinental sea, with an average depth of about 100 m (330 ft)," which would, like much of the coast above Hudson Bay have been relatively water free given the rise of the oceans 3- 400 ft. (the compression part related to ice on North America may have influenced Siberia (lifted) and later it sunk and the water rose (many possibilities and timelines).
One last point is that of Lake El'gygytgyn, a meteor strike to be sure, however when is cited as being 3.6 million years old, yet never properly surveyed (they say due to ice - and these days it is frozen over much of the year). Note the location to the above.
Whatever the case, it is very impressive.
Back to Zhokhov:
There is also this:
Here is what the site looks like now:
That makes for an interesting pre-forested landscape in which to utilize birch bark (no doubt Bears like the one in the permafrost above where there).
From this paper:
Back to Vladimir V. Pitulko, as he leads one to think of such a vast network of southern trade, and Siberia (and elsewhere in the arctic) that may well have been front and center as a prior hub, influencing the south and also seeding the south once things fell apart.
The last thing not put here (lost all the links) is the network of caves that angles south in Siberia that are full of petroglyphs similar to what Michael B-C shows in the area N-NE of Göbekli Tepe. Like a big trading route of hunter gatherer - from Siberia SW thousands of miles - "our old friend from the north, Obsidian" indeed.
It's been a while. Apologies. However, with the news coming out over the past few days of remarkable new finds uncovered at Enclosure D, Göbekli Tepe, (my principle topic here) - finds that seem to further support our central hypothesis - well, I thought I should post something here on the matter by way of a quick update...
At present the evidence is purely photographic with little other supporting data, but basically this year a further excavation was undertaken to tidy up Enclosure D during the course of which the archeologists were amazed to uncover a whole new feature they had hitherto missed entirely.
As we have previously explored, situated at the north facing point of the circle (we can call it the 12'oclock position)....
... there is a highly particular standing stone with a hole through it, around which a design was inlaid.
In my previous post on the topic, due to a reference in an article on the enclosure work to date, I was misled to believe that the original standing stone had been removed from the enclosure. Well it now transpires this was incorrect and that it indeed remains in situ (and from which they made the sub-standard copy now in the local museum). Anyhow, it was around this stone slab that further excavation took place this year and to everyone's surprise, this is what they discovered buried below it....
As you can see the hole stone was actually but one element of a more complex - dare I say 'altar' - feature that had hitherto gone undetected situated directly between the two free standing central pillars .
If we move in closer...
... we find it comprised three elements:
1. the hole standing stone at the rear
2. forward of that a horizontal 'altar' stone
3. Upon which stands a large sized representation of a Wild Boar.
As you can see:
1. The boar is depicted in a threatening stance - its body thrust forward, its eye narrowed, with teeth bared and tongue extended. As remarkable, it has been announced that the carving shows signs of colorizing - with black and white tints identified on its body and significant amounts of a once vivid red still visible in its mouth/tongue area:
2. Running along the front of the 'altar' stone is a design comprising (from left to right) the combined 'H' and 'C' symbols which are faced by the first serpent moving from right to left.
There is then a second serpent overlapping the tail of the first, running from left to right, before culminating in its head. It is extremely difficult to see from the available pictures but reference has been made by the reporting archeologists to there also being 3 human heads depicted on the freeze.
I could be wrong but I think this is what they are referring to:
If I am correct, then a reading of the full composition leads me to propose the following:
For those who have followed this thread, the above is likely to raise the odd eyebrow!
Here we have a deeply resonant combination much inline with some of my previous suggestions. It being previously hidden and only now revealed perhaps adds some further credence to some of the tentative conclusions we have been proposing.
To therefore recap:
1. The 'figure' - if that is what it is - on the stone is likely a further symbolic form of the 'H/C' set; they are effectively one and the same, albeit with subtly different meanings when represented in these contrasting forms.
2. The freeze on the front of the alter likely depicts the defeat/take over of the authority of this figure by the serpent - leaving the serpent to isolate humans and take up authority over their fate/life & death.
3. The Wild Boar is in the seat of power - it stands between the onlooker and the stone beyond. It is effectively the mediator or definer now of its authority. It demands worship, acceptance, honour, fear - and most likely sacrifice. It is perhaps a child of the figure, taking its authority from the source, but it has in effect supplanted it.
It is worth noting that the boar is an ever present representation at Göbekli Tepe. Along with the Fox and the Serpent, it makes up a somewhat unholy trinity. I think it must have had a highly specific symbolic meaning with regard to a sky / cosmic phenomena that brought utmost dread to the mind of the onlooker. In ancient Babylopnian star lore there existed a group of very ancient constellations known as THE SLAIN HEROES. These 9-11 monsters (dragons, wild rams, the Anzu bird, the seven headed serpent, etc) formed the basis for the tales of the conquering Hero God Ninurta (who was associated with both Mars and Saturn) who controlled and/or slew all these figures of terror, a format which eventually came down to us in the form of the 12 deeds of Hercules. One layer of this story suggests how a much more ancient set of knowledge and beliefs (a religion?) was being replaced by a new one - with the constellations wiped from the sky and new figures drawn to replace them. One of these figures was called the Bison Man. His principle power/role seems to have been to fight with and to defeat Lions which threatened the people. Its complex so I won't go into it here but at some point the Bison Man was associated with a figure of The Wild Boar - and it would appear that this figure then came down to us in the form of Centaurus, the centaur, fighting with Lupus the Wolf in sanitized Greek astronomy/astrology.
So the boar as a celestial figure has ancient roots. By the Greek time it was particularly associated with the goddess of the hunt, Artemis, as one of her many aspects - and that she could become an enraged boar if the humans below failed to grant her the first fruits of the harvest.
The memory therefore is of the Wild Boar as a force that could - without warning - unleash sudden, violent destruction on humans and their property is long.
That is what I think we are seeing here:
With its blood red mouth and distended tongue (a sure cometary / plasma symbol), my hesitant guess is that the boar here is the first known and most ancient symbolic representation of the planet/comet 'Mars'... with the Fox being 'Venus' and the Serpent being ... the comet swarm, plasma phenomena and accompanying STS phenomena... something like that!
NOTE:
In the same release of news, the equally important nearby site of Karahan Tepe has unearthed the following:
Yet another 'altar' type design - with two heavily eroded framing pillars and a central hole design stone at the back with a carved vulture - the figure of death - embedded forward (yellow arrow).
However, its the huge statute to the right that has caused so much excitement...
Note the bent at the elbow arms, the 'V' around its neck/chest and of course both the held erect penis and the ravaged rib cage.
A figure of immense potency and starvation... a seemingly contradictory duality that perhaps makes sense when you think of the twisted way in which the ideology of these sites played upon traumatized, confused and terrified human minds....
Standing at over 2metres/7 foot tall, again we have met this figure before.
The plot continues to thicken...
At present the evidence is purely photographic with little other supporting data, but basically this year a further excavation was undertaken to tidy up Enclosure D during the course of which the archeologists were amazed to uncover a whole new feature they had hitherto missed entirely.
As we have previously explored, situated at the north facing point of the circle (we can call it the 12'oclock position)....
... there is a highly particular standing stone with a hole through it, around which a design was inlaid.
In my previous post on the topic, due to a reference in an article on the enclosure work to date, I was misled to believe that the original standing stone had been removed from the enclosure. Well it now transpires this was incorrect and that it indeed remains in situ (and from which they made the sub-standard copy now in the local museum). Anyhow, it was around this stone slab that further excavation took place this year and to everyone's surprise, this is what they discovered buried below it....
As you can see the hole stone was actually but one element of a more complex - dare I say 'altar' - feature that had hitherto gone undetected situated directly between the two free standing central pillars .
If we move in closer...
... we find it comprised three elements:
1. the hole standing stone at the rear
2. forward of that a horizontal 'altar' stone
3. Upon which stands a large sized representation of a Wild Boar.
As you can see:
1. The boar is depicted in a threatening stance - its body thrust forward, its eye narrowed, with teeth bared and tongue extended. As remarkable, it has been announced that the carving shows signs of colorizing - with black and white tints identified on its body and significant amounts of a once vivid red still visible in its mouth/tongue area:
2. Running along the front of the 'altar' stone is a design comprising (from left to right) the combined 'H' and 'C' symbols which are faced by the first serpent moving from right to left.
There is then a second serpent overlapping the tail of the first, running from left to right, before culminating in its head. It is extremely difficult to see from the available pictures but reference has been made by the reporting archeologists to there also being 3 human heads depicted on the freeze.
I could be wrong but I think this is what they are referring to:
If I am correct, then a reading of the full composition leads me to propose the following:
For those who have followed this thread, the above is likely to raise the odd eyebrow!
Here we have a deeply resonant combination much inline with some of my previous suggestions. It being previously hidden and only now revealed perhaps adds some further credence to some of the tentative conclusions we have been proposing.
To therefore recap:
1. The 'figure' - if that is what it is - on the stone is likely a further symbolic form of the 'H/C' set; they are effectively one and the same, albeit with subtly different meanings when represented in these contrasting forms.
2. The freeze on the front of the alter likely depicts the defeat/take over of the authority of this figure by the serpent - leaving the serpent to isolate humans and take up authority over their fate/life & death.
3. The Wild Boar is in the seat of power - it stands between the onlooker and the stone beyond. It is effectively the mediator or definer now of its authority. It demands worship, acceptance, honour, fear - and most likely sacrifice. It is perhaps a child of the figure, taking its authority from the source, but it has in effect supplanted it.
It is worth noting that the boar is an ever present representation at Göbekli Tepe. Along with the Fox and the Serpent, it makes up a somewhat unholy trinity. I think it must have had a highly specific symbolic meaning with regard to a sky / cosmic phenomena that brought utmost dread to the mind of the onlooker. In ancient Babylopnian star lore there existed a group of very ancient constellations known as THE SLAIN HEROES. These 9-11 monsters (dragons, wild rams, the Anzu bird, the seven headed serpent, etc) formed the basis for the tales of the conquering Hero God Ninurta (who was associated with both Mars and Saturn) who controlled and/or slew all these figures of terror, a format which eventually came down to us in the form of the 12 deeds of Hercules. One layer of this story suggests how a much more ancient set of knowledge and beliefs (a religion?) was being replaced by a new one - with the constellations wiped from the sky and new figures drawn to replace them. One of these figures was called the Bison Man. His principle power/role seems to have been to fight with and to defeat Lions which threatened the people. Its complex so I won't go into it here but at some point the Bison Man was associated with a figure of The Wild Boar - and it would appear that this figure then came down to us in the form of Centaurus, the centaur, fighting with Lupus the Wolf in sanitized Greek astronomy/astrology.
So the boar as a celestial figure has ancient roots. By the Greek time it was particularly associated with the goddess of the hunt, Artemis, as one of her many aspects - and that she could become an enraged boar if the humans below failed to grant her the first fruits of the harvest.
The memory therefore is of the Wild Boar as a force that could - without warning - unleash sudden, violent destruction on humans and their property is long.
That is what I think we are seeing here:
- The old god has lost its vigor / been defeated.
- The serpents have driven it away - and now control human destiny down here on earth.
- The Wild Boar is now perpetually on the rampage and is the new king of this domain/the force to be reckoned with.
- We who administer to this place and to your well being - will mediate with this force to protect you from its destructive might... but it will require your abject obedience and (I suspect) your blood by way of sacrificial right. Otherwise it will take you all with no warning, like a thief in the night...
With its blood red mouth and distended tongue (a sure cometary / plasma symbol), my hesitant guess is that the boar here is the first known and most ancient symbolic representation of the planet/comet 'Mars'... with the Fox being 'Venus' and the Serpent being ... the comet swarm, plasma phenomena and accompanying STS phenomena... something like that!
NOTE:
In the same release of news, the equally important nearby site of Karahan Tepe has unearthed the following:
Yet another 'altar' type design - with two heavily eroded framing pillars and a central hole design stone at the back with a carved vulture - the figure of death - embedded forward (yellow arrow).
However, its the huge statute to the right that has caused so much excitement...
Note the bent at the elbow arms, the 'V' around its neck/chest and of course both the held erect penis and the ravaged rib cage.
A figure of immense potency and starvation... a seemingly contradictory duality that perhaps makes sense when you think of the twisted way in which the ideology of these sites played upon traumatized, confused and terrified human minds....
Standing at over 2metres/7 foot tall, again we have met this figure before.
The plot continues to thicken...
SOTTREADER
The Living Force
Worth a watch.
Yes, I also came across this jovial presentation the other day. I confess to only watching the first 30 minutes and then gave up in frustration as its basically a complete rehash of the interlaced theories of Martin Sweatman, Andrew Collins and Graham Hancock regarding their take on the origins and specific astral meaning behind the design of Göbekli Tepe, which I for one regard as fundamentally wrong and which, in the case of Sweatman, I addressed right at the start of this thread in some detail. But that's just me and of course, I could be wrong and all I've outlined here to date way off course.
Speaking of which...
STAGE 9 – PILLAR 38
About time to finish off what was started – namely, a full review of all the pillars in Enclosure D. We’d covered 1-8 to date, so let us now explore the final four ‘T’ pillars on our clockwise journey around the circle.
From available photographic sources, Pillar 38 appears to be blank other than its south facing side – including both sides and front of the head stone as well as the front and the northern side of the main stem of the ‘T’ pillar. It should, however, be noted that the northern side is still mostly obscured by stonework (see below) so one cannot be absolutely certain this is actually the case (though other than Pillar 33 this would conform to the norm of only one side of the trunk of the ‘T’ being the focus of pictorial representation).
Pillar 38, North side and head. Pillar 38, front.
Whilst I finally concluded the south facing side of the headstone is indeed also without decoration, the severe weathering may have obscured a figure/figures that once adorned it. One has to be very careful not to see what isn’t there, but there are some suggestive markings remaining despite the damage.
Is it possible that once upon a time there was a Fox here?
I say this because the double fox (with its partner upon this pillar discussed below) is a motif we’ve likely met before in Enclosure D (on Pillar 20) and clearly it had a deep significance, as witnessed by their appearance together ‘dancing’ (or maybe guarding) either side of the entrance way portal stone in the later Enclosure B.
However, despite all this, on balance I think it’s likely just a trick of the weathering on the eye - so for now I’ll play it safe and assume it was originally blank.
The southern facing trunk of the ‘T’ pillar is in contrast busy, displaying a powerful grouping of by now familiar figures depicted in relief.
A male Fox above, a large male Boar in the middle, and a set of 3 water Birds below.
This frieze is stark and yet strangely hypnotic. The oppressive power of the Boar seems to bear down upon the gathered avian below, its claws seeming to reach beneath in preparation to grasp and devour. The tremulous birds – on the left, what appears to be a water bird, either duck or goose, followed by two cranes (a male and female) – seem all but trapped, whilst the gleeful fox high above (the master of tricks) conveys a sense of control, even mirth at the events going on beneath his feet, almost as if it plays the role of puppet master to some great drama at play.
We have met a grouping of 3 birds before (e.g. on pillar 33), as well as a pairing of cranes (male and female on the same). Here the types of birds are mixed together – but the number was likely still significant. Their ‘passive’ nature gives them a semiotic token of being implicit poodles to the two fierce predators, one cunning, one unrelentingly explosive. I would also here draw attention to the recent uncovered altar stone where on the one hand a serpent pins the Bull to its left whilst on the other a further Serpent does the same to 3 skulls to the right.
Undoubtedly these various combinations held deep ‘mythic’ meaning for the onlooker – and it was precious little to do with their terrestrial counterparts. Is it even hinting that the three ‘birds’ were transformed into (having long disguised) the latent ferocity of the boar by the cunning will of the fox? If we bring to mind the complex visual narrative of Pillar 33, we remember how the pinning in of the ram by the snake heads as portrayed at the base of the front facing panel originates from both sides of the central pillar, with birds on one side and a fox on the other. Yes, the fox seems to be more dynamically involved but one is still left with the sense of either passive acquiescence or ineffectual opposition by the avian there gathered. Does this pillar serve the purpose of amplifying and codifying such a suggestion? Does it imply that a once reverence for 'birds' was proven to be misplaced?
POSSIBLE MEANING
The brute force and cunning of naked power has defeated and co-opted all that you once held to – hence forth, there will be no flight of escape from this cruel life without our say so.
STAGE 10 – PILLAR 41
The most westerly pillar, Pillar 41, is very badly damaged but from all available angles/photographs it appears to be completely blank.
Along with Pillar 32, there are only two such in the whole enclosure. What significance if any this choice coveys is as yet unclear – but I wonder if it had something to do with creating a deadly ‘silence’, a deliberate hiatus, by way of some kind of ominous confirmation of what had just been absorbed ahead of the following pillar or set of pillar’s high water mark (same being the case before the fateful pillar 33).
STAGE 11 – PILLAR 42
Pillar 42 was originally discovered jammed up against Pillar 43 and has since been put back into position. This entailed burying it deeply into the surrounding structure by way of support and by so doing, once again heavily obscuring the further side of the pillar. Having said that, it appears from the very few available images that all sides bar the front were blank in design.
Left. Far side of Pillar 42. Right Near side of head stone, as originally discovered up against Pillar 43.
As for the front panel, there is but a single composite image; the eponymous serpent writhing its way down towards the passive outline of a further water bird.
Front panel of Pillar 42 (which also reveals the blank side of the head panel plus a partial hole).
Does this further reinforce our conclusions regarding the meaning behind Pillar 42? It also brings up echoes of Pillars 30 and 20 (where the great bull is twice pinned in by the same device). Most importantly, it seems to echo a theme that we have seen depicted as far back as the arrow straighteners found at such places Tel Qaramel in the Levant, whereby the celestial horned serpent confronts and hems in terrestrial birds and/or trees of life.
Which of course brings us back to the following...
Of final important note, there is a small drilled hole in the lower region of the headstone, which is also arrowed in the image above.
From what I can detect this hole does not appear to go through the whole body and out the other side of the pillar (unlike with the Northern hole stone or with Pillar 30).
Does this further hint at the way out/the way through now being blocked off?
The next and final pillar will perhaps reveal all...
POSSIBLE MEANING
Indeed, there will be no flight of escape from this cruel life without our say so.
STAGE 12 – PILLAR 43
And so we come to it at last; the infamous Pillar 43, the so called ‘Vulture Stone’, the one pillar at Göbekli Tepe to have received unending notoriety thanks to the attention given to it by the likes of Graham Hancock, Andrew Collins and of course statistician Martin Sweatman with their theories of ancient zodiacs, date stamps for the great comet and warnings created for us in the future, and all the heady sounding stuff to do with noble, advanced civilizations…
At the very outset of this thread I kicked off with a detailed critique of the theories of Martin Sweatman regarding the purpose behind the building of Göbekli Tepe. I still stand by those and if anything I am even more convinced that he is plain wrong in his key assessments, and in particular his pivotal theories relating to this pillar. Having gone into the subject at some depth and having explored the other pillars before coming to the 11th and final, I think we have a profoundly different context by which to explore and analyze its remarkably complex depictions.
As stated before, I think when paired with Pillar 33, Pillar 43 is in effect a primer. Whilst Pillar 33 seems to recount where we came from, Pillar 43 outlines the conclusions and ‘future’ use of power as a result of the accumulation of the whole circle.
The first thing to note is that the hidden far side – both pillar and headstone – appears once more to be completely blank – all that is for… and yes, you probably guessed it … a small hole on its blank head that once again does not follow through to the other side… or does it?
To my knowledge no previous researcher, including ‘the fab 3’, has noted this small but highly telling detail, so busy are they with pontificating over the astral significance of the complex graphics on the other side.
Perhaps no wonder, for who would not be wowed and mesmerized by this Lucy in the Sky With Diamonds rendition! Mind bending does it scant justice.
As if this were not enough to chew on (and again, completely ignored by these other researchers), we find the following on the front face of the whole ‘T’ pillar…
So where to begin?
This is without doubt the hardest and most complex of all the pillars with what appears to be a varied set of different - if obviously intertwined – perspectives, rather than the suggestion of a single, linear narrative as per Pillar 33.
Let’s attempt to dive in at the deep.
The first thing to notice is that thanks to a combination of damage done to the base area along with the site archaeologist’s prioritizing supporting rubble over clarity of view of image, the pictorial messages we are looking at are in significant part inhibited or broken. Not a good way to start!
I’ve therefore done my best to come up with a suggested reconstruction of what was fully originally there, and it goes something like this:
The solid white areas are my calculated guesswork at the missing pieces of the jigsaw.
I’m pretty confident about the figure at the base, and this is where we should start:
Taken together – as is on the left and reconstruction on the right – we see the elongated neck and head of a large bird (difficult to say what species but I suspect it likely equates to all those various water birds we have witnessed previously) with a distinctive front facing eye, with beside it and positioned almost as if on its back, the torso and I believe once upraised twin arms of a potently fertile male figure.
We have seen and discussed this raised arms gesture above a central column (body) many times before. By now we know it signifies the trunk of the tree, the mountain, the pillar of the sky, the column of the once upon a time one and only great god of the known cosmos – the divine Great Bull of Heaven, the divine one, the singular god of the Golden Age. But now headless…
And here, let us here remember the power totem worn at the throat of Central Pillar 18…?
This one time symbol of unity has seemingly been declared null and void on Pillar 43. For the ‘head’ above the upturned crescent arms has now vanished…
If we cast our minds back to the cave at Lascaux – are we once again witnessing a memory of the traumatic end of the previous world, as god and bird, fall from grace in a calamity of heavenly chaos?
But what of the head – especially within the context of a site where detached stone heads (with Tau markings) and actual ritual human skulls are found everywhere? More on this anon…
To the left of this bird/man coupling rears up a predator of some kind (note in the Lascaux cave how the departing rhino, likely the perpetrator, is again to the left)…
I think this is likely a depiction of a Fox. So much is hidden from view, it’s truly impossible to be sure – but it would at least be consistent with what has come before (and is also similar in kind to the left hand fox out of the two on either side of the later portal door in Enclosure B highlighted in my previous post).
Above the Fox there is a problem…
A motif unseen thus far in Enclosure D or indeed anywhere else at Göbekli Tepe for that matter - but its full design is massively obscured by buttressing stonework.
The head and long, lithe shape are surely unmistakable – and a closer inspection via the highest resolution image available undoubtedly shows a tell-tell piece of relief sticking out from behind the rocks ending in line with the tip of the serpents nose.
That’s why I’m confident enough to suggest that when you consider the directional flow of this rogue end plus the lower curves as well as the depth of panel hidden still behind the rocks, that this is what we are very likely looking at.
An Oroboros – the snake that eats its own tail… circa 9.500BC... expressing the idea of containment, of the Alpha and Omega moment, the beginning and the end being a return, a cyclical reality, of the veiling of reality within its encircling coil.... all of this near balanced on the grinning head of the cosmic trickster, the Fox. And do we all remember this from Karahan tepe...?
The figure that rightly dominates our attention comes next – a fully and dramatically realized scorpion, filling the majority of the remainder of the lower side panel.
It is of course this familiar contemporary signature for the constellation Scorpius that convinces the likes of Collins, Hancock and the like that we are looking at the well known astral symbol. I on the other hand am far from convinced because I think despite Scorpius’ undoubted antiquity such a use came much, much later, in the same way that the original Great Bull of Heaven was later transposed by way of a memory of its pivotal importance onto the area of sky now known as Taurus.
In ancient Sumeria/Babylon, the Scorpion’s tale was associated with a Lion and its claws with the Wild Bull. They were also associated with the 'Sun’ and in the tale of Gilgamesh Scorpion-men (often depicted with wings of a bird) were said to act as guardians to the mythic mountain beneath which the ‘Sun’ descends each night. The epic describes how Gilgamesh travels through the tunnel beneath the mountain during the night and eventually emerges into a gem-encrusted paradise, on his quest to find immortality.
In ancient Sumerian the Scorpion was written ‘Mul Gir-tab’ and was often called the ‘Sword of Heaven’ with the glyph ‘Gir’ visually suggestive of an upright comet or orb suspended on a tapering column. In certain texts the Scorpion was closely associated with the multifaceted goddess Išhara, who was particularly noted as being a forerunner of Venus, being also a goddess of love, war and victory. Most interestingly she was sometimes called ‘Išhara of the ocean’ (Išhara Tiamat) and was regarded as the mother of the Seven Gods, the warmongering regents of the Star Cluster (Pleiades).
This brings us back to all those strange stories of missing Pleiades (birds), clashing of claws/gates and that Babylonian image of the Scorpion about to pick off the lead ‘star’ of the collected 7 warlike gods (birds) of the Pleiades.
We also have a pictorial memory of an overarching snake, a lion, birds and a fox…. with a dagger comet set dead (sic) centre… all pictured some 7,000 years after Göbekli Tepe was finally abandoned…
The mind boggles.
I admit to having no specific answer as of yet regarding the cosmic phenomenon that the Scorpion once represented (perhaps a visible nebula or some such electrical phenomena?). It was clearly something of immense power - something that was seen - and it related to a stage in the transition of the 'Pleiades' from their benign to terrifying aspect. I have little doubt, however, that it was imbued with considerable esoteric meaning from this time forth and was in some way a central element of the shaping and twisting of a key element of the hitherto collectively known story of stories by the secret society/ies who built and managed Göbekli Tepe into a new framing device for their own nefarious purposes – enhancing and reframing some aspects whilst disguising and veiling others.
At its core, I think it had something to do with the fall of the great god/state of paradise, something to do with a power of mastery over life and death these societies now claimed, and something to do with how they presented a controlling and hidden knowledge of the way in and the way out. For in some way the Scorpion has here taken on the mystery of the primeval life giving, life taking 'head' of the one time eternal reigning great god...
(to be cont'd)
And so we come to it at last; the infamous Pillar 43, the so called ‘Vulture Stone’, the one pillar at Göbekli Tepe to have received unending notoriety thanks to the attention given to it by the likes of Graham Hancock, Andrew Collins and of course statistician Martin Sweatman with their theories of ancient zodiacs, date stamps for the great comet and warnings created for us in the future, and all the heady sounding stuff to do with noble, advanced civilizations…
At the very outset of this thread I kicked off with a detailed critique of the theories of Martin Sweatman regarding the purpose behind the building of Göbekli Tepe. I still stand by those and if anything I am even more convinced that he is plain wrong in his key assessments, and in particular his pivotal theories relating to this pillar. Having gone into the subject at some depth and having explored the other pillars before coming to the 11th and final, I think we have a profoundly different context by which to explore and analyze its remarkably complex depictions.
As stated before, I think when paired with Pillar 33, Pillar 43 is in effect a primer. Whilst Pillar 33 seems to recount where we came from, Pillar 43 outlines the conclusions and ‘future’ use of power as a result of the accumulation of the whole circle.
The first thing to note is that the hidden far side – both pillar and headstone – appears once more to be completely blank – all that is for… and yes, you probably guessed it … a small hole on its blank head that once again does not follow through to the other side… or does it?
To my knowledge no previous researcher, including ‘the fab 3’, has noted this small but highly telling detail, so busy are they with pontificating over the astral significance of the complex graphics on the other side.
Perhaps no wonder, for who would not be wowed and mesmerized by this Lucy in the Sky With Diamonds rendition! Mind bending does it scant justice.
As if this were not enough to chew on (and again, completely ignored by these other researchers), we find the following on the front face of the whole ‘T’ pillar…
So where to begin?
This is without doubt the hardest and most complex of all the pillars with what appears to be a varied set of different - if obviously intertwined – perspectives, rather than the suggestion of a single, linear narrative as per Pillar 33.
Let’s attempt to dive in at the deep.
The first thing to notice is that thanks to a combination of damage done to the base area along with the site archaeologist’s prioritizing supporting rubble over clarity of view of image, the pictorial messages we are looking at are in significant part inhibited or broken. Not a good way to start!
I’ve therefore done my best to come up with a suggested reconstruction of what was fully originally there, and it goes something like this:
The solid white areas are my calculated guesswork at the missing pieces of the jigsaw.
I’m pretty confident about the figure at the base, and this is where we should start:
Taken together – as is on the left and reconstruction on the right – we see the elongated neck and head of a large bird (difficult to say what species but I suspect it likely equates to all those various water birds we have witnessed previously) with a distinctive front facing eye, with beside it and positioned almost as if on its back, the torso and I believe once upraised twin arms of a potently fertile male figure.
We have seen and discussed this raised arms gesture above a central column (body) many times before. By now we know it signifies the trunk of the tree, the mountain, the pillar of the sky, the column of the once upon a time one and only great god of the known cosmos – the divine Great Bull of Heaven, the divine one, the singular god of the Golden Age. But now headless…
And here, let us here remember the power totem worn at the throat of Central Pillar 18…?
This one time symbol of unity has seemingly been declared null and void on Pillar 43. For the ‘head’ above the upturned crescent arms has now vanished…
If we cast our minds back to the cave at Lascaux – are we once again witnessing a memory of the traumatic end of the previous world, as god and bird, fall from grace in a calamity of heavenly chaos?
But what of the head – especially within the context of a site where detached stone heads (with Tau markings) and actual ritual human skulls are found everywhere? More on this anon…
To the left of this bird/man coupling rears up a predator of some kind (note in the Lascaux cave how the departing rhino, likely the perpetrator, is again to the left)…
I think this is likely a depiction of a Fox. So much is hidden from view, it’s truly impossible to be sure – but it would at least be consistent with what has come before (and is also similar in kind to the left hand fox out of the two on either side of the later portal door in Enclosure B highlighted in my previous post).
Above the Fox there is a problem…
A motif unseen thus far in Enclosure D or indeed anywhere else at Göbekli Tepe for that matter - but its full design is massively obscured by buttressing stonework.
The head and long, lithe shape are surely unmistakable – and a closer inspection via the highest resolution image available undoubtedly shows a tell-tell piece of relief sticking out from behind the rocks ending in line with the tip of the serpents nose.
That’s why I’m confident enough to suggest that when you consider the directional flow of this rogue end plus the lower curves as well as the depth of panel hidden still behind the rocks, that this is what we are very likely looking at.
An Oroboros – the snake that eats its own tail… circa 9.500BC... expressing the idea of containment, of the Alpha and Omega moment, the beginning and the end being a return, a cyclical reality, of the veiling of reality within its encircling coil.... all of this near balanced on the grinning head of the cosmic trickster, the Fox. And do we all remember this from Karahan tepe...?
The figure that rightly dominates our attention comes next – a fully and dramatically realized scorpion, filling the majority of the remainder of the lower side panel.
It is of course this familiar contemporary signature for the constellation Scorpius that convinces the likes of Collins, Hancock and the like that we are looking at the well known astral symbol. I on the other hand am far from convinced because I think despite Scorpius’ undoubted antiquity such a use came much, much later, in the same way that the original Great Bull of Heaven was later transposed by way of a memory of its pivotal importance onto the area of sky now known as Taurus.
In ancient Sumeria/Babylon, the Scorpion’s tale was associated with a Lion and its claws with the Wild Bull. They were also associated with the 'Sun’ and in the tale of Gilgamesh Scorpion-men (often depicted with wings of a bird) were said to act as guardians to the mythic mountain beneath which the ‘Sun’ descends each night. The epic describes how Gilgamesh travels through the tunnel beneath the mountain during the night and eventually emerges into a gem-encrusted paradise, on his quest to find immortality.
In ancient Sumerian the Scorpion was written ‘Mul Gir-tab’ and was often called the ‘Sword of Heaven’ with the glyph ‘Gir’ visually suggestive of an upright comet or orb suspended on a tapering column. In certain texts the Scorpion was closely associated with the multifaceted goddess Išhara, who was particularly noted as being a forerunner of Venus, being also a goddess of love, war and victory. Most interestingly she was sometimes called ‘Išhara of the ocean’ (Išhara Tiamat) and was regarded as the mother of the Seven Gods, the warmongering regents of the Star Cluster (Pleiades).
This brings us back to all those strange stories of missing Pleiades (birds), clashing of claws/gates and that Babylonian image of the Scorpion about to pick off the lead ‘star’ of the collected 7 warlike gods (birds) of the Pleiades.
We also have a pictorial memory of an overarching snake, a lion, birds and a fox…. with a dagger comet set dead (sic) centre… all pictured some 7,000 years after Göbekli Tepe was finally abandoned…
The mind boggles.
I admit to having no specific answer as of yet regarding the cosmic phenomenon that the Scorpion once represented (perhaps a visible nebula or some such electrical phenomena?). It was clearly something of immense power - something that was seen - and it related to a stage in the transition of the 'Pleiades' from their benign to terrifying aspect. I have little doubt, however, that it was imbued with considerable esoteric meaning from this time forth and was in some way a central element of the shaping and twisting of a key element of the hitherto collectively known story of stories by the secret society/ies who built and managed Göbekli Tepe into a new framing device for their own nefarious purposes – enhancing and reframing some aspects whilst disguising and veiling others.
At its core, I think it had something to do with the fall of the great god/state of paradise, something to do with a power of mastery over life and death these societies now claimed, and something to do with how they presented a controlling and hidden knowledge of the way in and the way out. For in some way the Scorpion has here taken on the mystery of the primeval life giving, life taking 'head' of the one time eternal reigning great god...
(to be cont'd)
As always, enjoy your keen eye in following and looking at this in details. What you said above made me think of an alignment with what was said here (October 1997). This "controlling and hidden knowledge" might possibly have something to do with what was much more recognizable, if even intermittent - the veil, and then it was not (or perhaps that was long before, don't know):
Edit: added link
Jtucker
Jedi Master
I've had this thought for a while regarding some North American structures as well. Though, they are not anywhere near as sophisticated (at least what's left of them) as the Anatolian complexes. It's as if there's a cult that has the ability, or claims to have the ability to control some sort of cycling between 3 and 5 D - possibly incarnationally? These complexes are maybe not just temples/indoctrination centers of the elite. But possibly they are machines that once actually worked to manifest a spectacular phenomenon that legitimized the masters at the top.
This session seems to possibly hint at it:
Aug.23.2001
Q: Okay, last time we were talking about the "M" mound in Wisconsin. You said that it was not a natural structure but that it was built for "F 353535." Could you say more about this? Was this used somehow to genetically manipulate the surrounding population?
A: Best so called lie in town.
Q: That doesn't make any sense.
A: Lay. [As in "ley" lines?]
Q: (TB) It looks like a big man laying. Is something laying there? (L) Or was it used for some kind of fertility rites? Is something buried inside it?
A: Force field generator.
Q: (L) Is it a force field generator by virtue of the kinds of rocks that are in there? Is it like rocks under a mound? {To TB} Have they ever x-rayed it to see what's under it? (TB) The whole area is a lead and zinc mining area. There's a lot of lead deposits around. Maybe they shield it, but it's supposed to be a natural formation, but the C's have said it's not a natural formation. (L) {chuckling} So maybe it's that everybody around there who "gets laid" is having some force field generator affecting them? Is that correct? Does it do something to the people in the area when they conceive children? Or do you mean ley line?
A: Close.
Is the "F353535" a code or program that locks the local population into entropic recycling through the complex itself? They never advance but remain tied to the general temple/mound area and its ideological apparatus for hundreds or thousands of years controlled by successive elites with same agenda?
PILLAR 43 (cont’d)
So much for over confidence! There I was, headfirst into a follow up draft of a Pillar 43 analysis, fully believing that I was coming close to cracking the code, whereupon I hit a series of brick walls and duly froze in the headlights of my own hubris…!
After a few days of poster’s block, and thankfully a great deal more thinking with a hammer (!), I’m going to try and lay out for you in detail certain problems and possibilities to see how they gel with you and thereby hopefully encourage more than one mind to come to bear on this problem – because this crucial design does not wish to give up its secrets willingly, I assure you!
Back in 2015, Dr. Müslüm Ercan, director and head of excavations at the site on behalf of the Sanliurfa Museum, stated in an article titled "Signs of world's first pictograph found in Göbeklitepe," that:
Whilst I do not necessarily agree with all his observations, Dr Ercan has certainly nailed both the challenge and the particularity of this work. More than any other pillar in the enclosure, this one indeed appears to be heavily thematic and thereby more deeply enigmatic – for it is the totality of connections between otherwise seemingly obscure images that I would suggest conveys its ultimate purpose. However, if one does not understand each and every symbol and its due place ‘thematically’ with regard to the others, one soon gets lost in a maze of maybes and couldbes. I suspect this was likely entirely intentional for reasons we will come on to later after we have first cleared some rubble.
The body of the pillar was in some ways less of an initial challenge because the majority of elements were familiar and thus we have a reasonably confident means by which to in general interpret the headless Male Torso (with upward arms) and accompanying Bird (likely a goose), as well as the ‘Dancing’ Fox and the encircling quasi Oroboros Serpent. Even the Scorpion we have met before in terms of its connections to the story of the great calamity and the part played by the 6/7 Pleiades (though this is merely scratching the surface of its likely meaning). All good in principle so far (even if we are no closer to grasping their overall theme or purpose).
The headstone, however, is a quite different story. To my mind, there are perhaps as many as 11 distinct elements, all likely interconnected in a range of thematic ways so as to create a sum greater than the total of its constituent parts. Unlike Pillar 33, the only other semiotically complex pillar in the enclosure, the designs on Pillar 43 are unlikely intended to be read in a near linear ‘narrative’ fashion, but rather understood as ‘a moment’, as Dr Ercan puts it, even if this moment is out of time and space – a moment akin to the birth of a new ideology perhaps, one that I suspect contained something from past, present and future.
Without going back in depth into their theories, Hancock, Sweatman and co have all assumed that the depictions are astral / solar and that they are in effect a star map of some kind with additional supporting code.
Pillar 43 chart of constellations, Graham Hancock, Magicians of the Gods. Page 310.
In this manner the various creatures become constellations and by way of the additional coded information, a specific date can be interpreted (in the case of Sweatman, a very particular “date-stamp” for the summer solstice of 10,950 ± 250 BC and the arrival of the ‘great comet’ that in his argument kicked off the Younger Dryas event).
Göbekli Tepe's Vulture Stone: A Warning across Time or Signpost to the Land of The Dead?, Andrew Collins.
Even Andrew Collins, who was also a one-time advocate of this theory before eventually rejecting it, still returned to a directly like-for-like astral star map theory, but this time relating a purposeful identification of the constellation Cygnus as his preferred conclusion.
These astral heavy theories have by now become something of a given amongst the alternate history crowd with battle lines between them and the uniform academic rejection of such a concept, (preferring as they do to relate these images to hunting totems and other socio-cultural anthropological norms), invariably drawn up around this singular minded divide.
Well, I also have good reason to think there is ‘heavenly’ information deriving from the outcomes of the trauma of the YD event encoded here – but I am equally fully convinced it has nothing to do with currently recognizable asterisms or constellational associations. If I am close to correct, however, the astronomical and cosmic knowledge specifically alluded to here is in some ways far more challenging to our view of past knowledge than a specific date stamp or reverence for singular constellations in the night sky.
Let us begin our examination right at the top and right in the deep end of this issue.
UNIT 1 (Elements 1-6)
I’m going to treat this section of the headstone design as a singularity of form.
The x6 distinct but interconnecting elements I see are:
You will note the repeat use of the term ‘non-symmetrical’. Whatever the level of knowledge and intent behind the designs of these Pillars, I detect next to zero prioritizing of mathematical or geometric exactitude. I think this is important to take on board. Whatever the ‘advanced’ knowledge and skill it took to carve these pillars out of the bare rock or the imperative driving the master code by way of carvings upon them, a visual representation of numerical values, geometric exactitude or proportional representation does not appear to have been a driving need (or generally agreed upon or even considered concept?) One look at the geometric inaccuracy in the enclosure, pillar to pillar, tells you that they were clearly not working to a set of distinct and precise mathematical formulae other than perhaps something like big ones of a certain size means ‘X’, smaller ones denotes ‘Y’. The same goes for the pictographic designs; here, for example, the lines used, whether vertical, horizontal or on the angle, are all ‘free hand’ as if the pattern (and its meaning) was symbolically what mattered not any form of encoding of like-for-like measurement. Yet that does not mean this design is not – for want of a better word – ‘scientific’ and ‘accurate’. It is likely a highly precise meaning system despite what we might see as its casualness by way of execution.
A caveat, however, to this general rule; the design was very likely precisely laid out in some way prior to its carving and in such a manner that I think an element of proportional representation across the whole design was likely incorporated - especially say on a left to right axis - albeit on a non-exact measuring scale. More on this anon.
1. CHEVRONS
Arguably the most enigmatic symbol during the entire PPNA – not only at Göbekli Tepe but elsewhere – is the all-pervasive ‘V’ shaped incision or collar.
Most prominently, it is displayed on both ‘throat’s of the two central pillars of Enclosure D.
Front ‘throat’ area of recessed frontal panels of Central Pillar 31 and Central Pillar 18.
The throat motif was an extension of (yet I think symbolically different from) the two arms that 'grew' down either side of the body (an issue I will likely come back to).
The likely identification of this design emblem with a ‘cosmically’ appointed power figure conveying highest status is further amplified by its appearance on multiple human looking totemic figures, most prominent being:
Urfa Man, seen by mainstream archaeology/academia as being symbolically synonymous with the ‘T’ pillar figure design and likely a figurine of great significance to its makers:
Downwards Chevron/collar plus indented chest panel (found on numerous ‘T’ pillars with and without the Chevron/collar). From nearby site of Kurt Tepesi.
Then we also have a number of significant other occurrences:
Seated potent jade figure with feline pup attached to its back, Göbekli Tepe.
Central seated potent figure hemmed in by felines, carved frieze, Sayburç.
Pillar and accompanying potent power figure, 2023 find at Karahan Tepe.
Large, elongated head with raised cranial features set around what may be a central downwards facing chevron, Karahan Tepe.
By these examples I think we are safe to suggest this emblem – and in particular its connection to the upper chest/throat area - very likely denotes high status, rightful power, and I think some form of claim to be able to direct and manage cosmic authority.
I strongly suspect that it is an appropriated, much, much older symbol, here reshaped before being incorporated into a new doctrine by way of the old discredited ‘faith’ as a means to appropriate a widely understood authority.
In the period just before the complex of ‘T’ pillar sites sprang up, at certain north eastern PPNA sites such as Körtik Tepe we see the downwards Chevron everywhere, but this time accompanied by the equal appearance of side by side upwards facing chevrons, so creating a repeat zigzag pattern on everything from ritual stone bowls to tools:
However, with the sly, over time introduction at the same site of the cosmic trickster, our old friend the Fox, we see this happen:
I suspect something is starting to mutate here that was likely originally seen as in balance. For if we take this image again:
I suggest we are seeing an identical, cyclically repeating, benign event being represented here in which the energetic meaning of the two forms of the chevron – upward and downward facing – represent the maintenance of an ever present balance between the ‘outbursts’ as depicted by the ‘Alpha’ and ‘Omega’ moment of the expanding labyrinthine circles – like a flow of cosmic current, or regenerative action, of expansion and then contraction, leading inevitably to a rebirth ‘flare’ and then the cycle starts again.
And within/under its grace the dual facing ‘mountain goats’ prospered.
I have written at length about the one time great God of the sky. Whatever this natural force may have been, I suspect that over time it pulsed, or went through a repeat cycle of energetic expansion and then contraction, but it/he always reset so as to continue the process for apparent time immemorial. However, after the great catastrophe, and this God’s defeat/departure, this process changed to one of unending turmoil for millennia after. But the memory of distinct ‘heavenly ages’, in whatever form they were prior experienced, continued.
Those who have been following this thread in detail may remember this artifact:
It comes from the northern Siberian/Russian culture of Kostyonki-Streletskaya or Kostyonki-Borshchevond and dates from between 30,000 and 20,000 BC. The design was not uncommon on items thus far discovered from this culture, but this headpiece (?) delicately carved from ivory was clearly of significance and most likely worn by someone of great importance.
Now compare it to the top section of Pillar 43 at Göbekli Tepe, carved maybe 10,000 years later.
It may be significant that depictions of snakes and scorpions took on this wavering, angular line and were even represented with the same Chevron patterns as they did so:
And what was previously presented as a horizontal traveling pattern went vertical and most commonly pointed down… like the collar chevron that became the only element to be retained on all those power figures and ‘T’ Pillars.
So much for over confidence! There I was, headfirst into a follow up draft of a Pillar 43 analysis, fully believing that I was coming close to cracking the code, whereupon I hit a series of brick walls and duly froze in the headlights of my own hubris…!
After a few days of poster’s block, and thankfully a great deal more thinking with a hammer (!), I’m going to try and lay out for you in detail certain problems and possibilities to see how they gel with you and thereby hopefully encourage more than one mind to come to bear on this problem – because this crucial design does not wish to give up its secrets willingly, I assure you!
Back in 2015, Dr. Müslüm Ercan, director and head of excavations at the site on behalf of the Sanliurfa Museum, stated in an article titled "Signs of world's first pictograph found in Göbeklitepe," that:
Whilst I do not necessarily agree with all his observations, Dr Ercan has certainly nailed both the challenge and the particularity of this work. More than any other pillar in the enclosure, this one indeed appears to be heavily thematic and thereby more deeply enigmatic – for it is the totality of connections between otherwise seemingly obscure images that I would suggest conveys its ultimate purpose. However, if one does not understand each and every symbol and its due place ‘thematically’ with regard to the others, one soon gets lost in a maze of maybes and couldbes. I suspect this was likely entirely intentional for reasons we will come on to later after we have first cleared some rubble.
The body of the pillar was in some ways less of an initial challenge because the majority of elements were familiar and thus we have a reasonably confident means by which to in general interpret the headless Male Torso (with upward arms) and accompanying Bird (likely a goose), as well as the ‘Dancing’ Fox and the encircling quasi Oroboros Serpent. Even the Scorpion we have met before in terms of its connections to the story of the great calamity and the part played by the 6/7 Pleiades (though this is merely scratching the surface of its likely meaning). All good in principle so far (even if we are no closer to grasping their overall theme or purpose).
The headstone, however, is a quite different story. To my mind, there are perhaps as many as 11 distinct elements, all likely interconnected in a range of thematic ways so as to create a sum greater than the total of its constituent parts. Unlike Pillar 33, the only other semiotically complex pillar in the enclosure, the designs on Pillar 43 are unlikely intended to be read in a near linear ‘narrative’ fashion, but rather understood as ‘a moment’, as Dr Ercan puts it, even if this moment is out of time and space – a moment akin to the birth of a new ideology perhaps, one that I suspect contained something from past, present and future.
Without going back in depth into their theories, Hancock, Sweatman and co have all assumed that the depictions are astral / solar and that they are in effect a star map of some kind with additional supporting code.
Pillar 43 chart of constellations, Graham Hancock, Magicians of the Gods. Page 310.
In this manner the various creatures become constellations and by way of the additional coded information, a specific date can be interpreted (in the case of Sweatman, a very particular “date-stamp” for the summer solstice of 10,950 ± 250 BC and the arrival of the ‘great comet’ that in his argument kicked off the Younger Dryas event).
Göbekli Tepe's Vulture Stone: A Warning across Time or Signpost to the Land of The Dead?, Andrew Collins.
Even Andrew Collins, who was also a one-time advocate of this theory before eventually rejecting it, still returned to a directly like-for-like astral star map theory, but this time relating a purposeful identification of the constellation Cygnus as his preferred conclusion.
These astral heavy theories have by now become something of a given amongst the alternate history crowd with battle lines between them and the uniform academic rejection of such a concept, (preferring as they do to relate these images to hunting totems and other socio-cultural anthropological norms), invariably drawn up around this singular minded divide.
Well, I also have good reason to think there is ‘heavenly’ information deriving from the outcomes of the trauma of the YD event encoded here – but I am equally fully convinced it has nothing to do with currently recognizable asterisms or constellational associations. If I am close to correct, however, the astronomical and cosmic knowledge specifically alluded to here is in some ways far more challenging to our view of past knowledge than a specific date stamp or reverence for singular constellations in the night sky.
Let us begin our examination right at the top and right in the deep end of this issue.
UNIT 1 (Elements 1-6)
I’m going to treat this section of the headstone design as a singularity of form.
The x6 distinct but interconnecting elements I see are:
1. Top and bottom, (and perhaps by inference all pervasive?), rows of non-symmetrical chevrons, upturned and inverted in alternating pattern.
2-4. Three differently depicted downward observing ‘creatures’.
5. A set of x3 non-symmetrical ‘handbags’.
6. A set of x11, non-symmetrical, loosely horizontally aligned rectangles.
You will note the repeat use of the term ‘non-symmetrical’. Whatever the level of knowledge and intent behind the designs of these Pillars, I detect next to zero prioritizing of mathematical or geometric exactitude. I think this is important to take on board. Whatever the ‘advanced’ knowledge and skill it took to carve these pillars out of the bare rock or the imperative driving the master code by way of carvings upon them, a visual representation of numerical values, geometric exactitude or proportional representation does not appear to have been a driving need (or generally agreed upon or even considered concept?) One look at the geometric inaccuracy in the enclosure, pillar to pillar, tells you that they were clearly not working to a set of distinct and precise mathematical formulae other than perhaps something like big ones of a certain size means ‘X’, smaller ones denotes ‘Y’. The same goes for the pictographic designs; here, for example, the lines used, whether vertical, horizontal or on the angle, are all ‘free hand’ as if the pattern (and its meaning) was symbolically what mattered not any form of encoding of like-for-like measurement. Yet that does not mean this design is not – for want of a better word – ‘scientific’ and ‘accurate’. It is likely a highly precise meaning system despite what we might see as its casualness by way of execution.
A caveat, however, to this general rule; the design was very likely precisely laid out in some way prior to its carving and in such a manner that I think an element of proportional representation across the whole design was likely incorporated - especially say on a left to right axis - albeit on a non-exact measuring scale. More on this anon.
1. CHEVRONS
Arguably the most enigmatic symbol during the entire PPNA – not only at Göbekli Tepe but elsewhere – is the all-pervasive ‘V’ shaped incision or collar.
Most prominently, it is displayed on both ‘throat’s of the two central pillars of Enclosure D.
Front ‘throat’ area of recessed frontal panels of Central Pillar 31 and Central Pillar 18.
The throat motif was an extension of (yet I think symbolically different from) the two arms that 'grew' down either side of the body (an issue I will likely come back to).
The likely identification of this design emblem with a ‘cosmically’ appointed power figure conveying highest status is further amplified by its appearance on multiple human looking totemic figures, most prominent being:
Urfa Man, seen by mainstream archaeology/academia as being symbolically synonymous with the ‘T’ pillar figure design and likely a figurine of great significance to its makers:
Downwards Chevron/collar plus indented chest panel (found on numerous ‘T’ pillars with and without the Chevron/collar). From nearby site of Kurt Tepesi.
Then we also have a number of significant other occurrences:
Seated potent jade figure with feline pup attached to its back, Göbekli Tepe.
Central seated potent figure hemmed in by felines, carved frieze, Sayburç.
Pillar and accompanying potent power figure, 2023 find at Karahan Tepe.
Large, elongated head with raised cranial features set around what may be a central downwards facing chevron, Karahan Tepe.
By these examples I think we are safe to suggest this emblem – and in particular its connection to the upper chest/throat area - very likely denotes high status, rightful power, and I think some form of claim to be able to direct and manage cosmic authority.
I strongly suspect that it is an appropriated, much, much older symbol, here reshaped before being incorporated into a new doctrine by way of the old discredited ‘faith’ as a means to appropriate a widely understood authority.
In the period just before the complex of ‘T’ pillar sites sprang up, at certain north eastern PPNA sites such as Körtik Tepe we see the downwards Chevron everywhere, but this time accompanied by the equal appearance of side by side upwards facing chevrons, so creating a repeat zigzag pattern on everything from ritual stone bowls to tools:
However, with the sly, over time introduction at the same site of the cosmic trickster, our old friend the Fox, we see this happen:
I suspect something is starting to mutate here that was likely originally seen as in balance. For if we take this image again:
I suggest we are seeing an identical, cyclically repeating, benign event being represented here in which the energetic meaning of the two forms of the chevron – upward and downward facing – represent the maintenance of an ever present balance between the ‘outbursts’ as depicted by the ‘Alpha’ and ‘Omega’ moment of the expanding labyrinthine circles – like a flow of cosmic current, or regenerative action, of expansion and then contraction, leading inevitably to a rebirth ‘flare’ and then the cycle starts again.
And within/under its grace the dual facing ‘mountain goats’ prospered.
I have written at length about the one time great God of the sky. Whatever this natural force may have been, I suspect that over time it pulsed, or went through a repeat cycle of energetic expansion and then contraction, but it/he always reset so as to continue the process for apparent time immemorial. However, after the great catastrophe, and this God’s defeat/departure, this process changed to one of unending turmoil for millennia after. But the memory of distinct ‘heavenly ages’, in whatever form they were prior experienced, continued.
Those who have been following this thread in detail may remember this artifact:
It comes from the northern Siberian/Russian culture of Kostyonki-Streletskaya or Kostyonki-Borshchevond and dates from between 30,000 and 20,000 BC. The design was not uncommon on items thus far discovered from this culture, but this headpiece (?) delicately carved from ivory was clearly of significance and most likely worn by someone of great importance.
Now compare it to the top section of Pillar 43 at Göbekli Tepe, carved maybe 10,000 years later.
It may be significant that depictions of snakes and scorpions took on this wavering, angular line and were even represented with the same Chevron patterns as they did so:
And what was previously presented as a horizontal traveling pattern went vertical and most commonly pointed down… like the collar chevron that became the only element to be retained on all those power figures and ‘T’ Pillars.
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