THE ONCE AND FUTURE SKY GOD? – From Göbekli Tepe to The Zodiac – and Beyond…

[Michael B-C]

POST 9

A DEEP DIVE INTO ENCLOSURE ‘D’

So with all that in mind… let us take a deep dive into the world of Enclosure D.

I am focusing in on Enclosure ‘D’ alone because as of today it is the earliest dated thus far excavated. Yes there are many other fascinating carvings and devices that appear in the later enclosures but I want to take a very close look at the source code so to speak – and that is found in Enclosure ‘D’, the one enclosure that the archaeologists are confident remains as it was constructed and with no adaptations later on in its life.

A necessary caveat; after 20 years of excavation, only possibly as little as 20% of the total site has been excavated. Geological surveys reveal numerous other extremely large circular read outs suggesting there are multiple other structures waiting to be unearthed.



GT geological survey results


Whether earlier or later we cannot say. Looking at the above they seem to me so vast in size compared to the known enclosures bottom right (in green), I simply cannot see how they would be comparable purpose finds or that they could come from the earliest level, but only time will tell. Therefore, for now my argument rests on the limitations of the known evidence to date.

The issue of dating is really messy and there are plenty of detractors on the accepted carbon dating because so few samples have been taken and all that have were based on materials that do not conclusively prove a construction date merely the date these materials were placed in proximity to the stones (not mentioning the highly likely contamination issues when you consider the site was ritually and deliberately buried)

That being said we have to go with something, so according to the following…



… we have a benchmark date of circa 9,600BC for Enclosure D.

Here are the main T-pillar enclosures packed in tight together (Enclosures A-F).



I still find it very interesting that Enclosure ‘D’ is very marginally off of a true North South orientation whilst the subsequent enclosure ‘A’ goes wildly off course, ‘B’ and ‘C’ start to wander back and ‘F’ follows an entirely different orientation. Was north at a different spot than it is today when ‘D’ went up? Did it then move about over the centuries after? Had the builders lost the source code of why north mattered so much by the time of ‘F’ (which is thought to track the rising of the sun/moon?)

Enclosure ‘E’ by the way appears to be a dry run for the technique of successfully constructing the floor and central pillar orientation (minus the pillars themselves) as no evidence has been found for holes where other pillars would have been. Its orientation is also almost precisely that of ‘D’ again suggesting that come what may in terms of what is discovered elsewhere, for these builders ‘D’ was their first go for real.


Enclosure ‘D’

The enclosure comprises 11 exterior T-pillars embedded into walls, with stonework benches between each pillar. There are then two larger pillars in the centre. Holes and groves in the tops of many of the pillars are further suggestive of their double use as roof supports. It may have originally looked something like this…



An artist’s impression of Karahan Tepe which I think is actually wrong because (a) its too large in diameter to sustain a roof with just 2 central pillars and (b) I do not think it had a full roof anyway as witnessed by the weathering/erosion, but still it provides a useful impression of what Enclosure D at Göbekli Tepe might have originally looked like.


To date, and following a great deal of searching, I have to conclude that no one it seems has thought fit to provide us with a full photographic record or set of complete line drawings of the 13 T-pillars of Enclosure ‘D’ as a single body of work so as to be considered in its entirety. No archaeologist, academic, or alternative researcher. Yes, individual or randomly associated pillars are discussed and theorised about and often represented, but no one seems to have considered that the pillars may represent a totality and should therefore be considered as such. And I have to ask why?

Anyway, I have painstakingly hunted through hundreds of photos to ascertain as best I can what lies on every pillar; for what is not often considered is that the pillars have two sides and a front and images appear on all these faces in different combinations. Regrettably there are still a few gaps in my record and I just have to assume that no photographic record anywhere suggests that the few sides of pillars I could not account for means they are therefore blank. But I cannot 100% confirm this.

As I explored the designs in total I began to think about the possibility that they might represent individual stages in a single overarching narrative – rather akin to the way that the stations of the cross are laid out in separate arches around a church and around which pilgrims would travel, hearing certain elements of the Jesus story told aloud and then pay their specific ritual obedience’s at each step of the way.



The 13 T-pillars of Enclosure ‘D’, numbered in sequence as they were excavated.

So as a thought experiment I’m going to take you around Enclosure D to see what crown of thorns we can perhaps uncover.

We will start at the point the enclosure suggests is close to due north.

 

[Michael B-C]

POST 10

STAGE 1 – THE FORGOTTEN MASTER DIVINE IMAGE


You will note that for some inexplicable reason there is a gaping hole in the centre of orientation where near north is. No pillar 12. But why? Isn’t there an obvious gap in the spacing?

What very few bother to discuss is that rather than a T-pillar, there is a large stone with a unique device carved upon it. This has now been taken away (why?) and put who knows where because a copy has replaced it and now sits in the archaeological museum in Şanlıurfa.

And here it is...



A rough, rectangular stone block with a hole cut all the way through and some strange flowing lines upon its outer surface. According to the above copy, the design looks like this when highlighted:




Very interesting …. but, wait, hang on a minute…!

You see, if you closely study the very rare photographs of the stone taken in situ at GT before they removed it to copy, it suddenly looks like this...



I cannot explain why, but the copy in the archaeological museum in Şanlıurfa has been subtly changed in such a way that the original – and to my mind – very clear unified image becomes blurred and lost. In particular note the high relief of certain sections that is not mimicked in the copy and also how other lines have been added or subtly changed in their direction or conception (such as the straight double line down the chest in the original formed by the arms running into the torso which becomes a wavy, indistinct series of separate lines in the copy).

If one highlights the original instead, one finds this:



Once more for luck, comparing both the original and the highlighted versions side by side…



Be it laziness or deliberate, something funny has gone on here.

I am suggesting to you that this is a stylised depiction of a horned anthropomorphic figure, its head being portrayed as a hole, with both arms held aloft (arms aloft and horns mirroring each other) and with the parallel line device (the signature I think of the pillar and thus of divinity) running down its chest. I am loath to bring in much later analogies but a gestural comparison with the Egyptian Shu, the pillar aspect of the great God Ra, among many, many others is striking.





The issue of the empty hole driven through stones comes up a number of times at this site and at many other sites and remains a particular motif that lasts down the ages until it appears in large volume in northern megalithic tombs where it is associated with a doorway – or a soul way – through to the next world or dimension (a tradition that lives to this day in countries like Austria and the Balkans). I believe this unique stone to be a depiction of the original God of the North Pole emanating some form of electrical energy flow.

This is our first power figure. It is I think the appropriated signature of the ancient religion. The one time future god of the North Pole cosmic axis. Later on in Enclosure ‘D’ we will meet more of his appropriated signatures.

We should here note that there are 11 individual T-pillars around the circumference with a 12th distinctively different figure to complete the circle at its head...

 

[Michael B-C]

POST 11
STAGE 2 – PILLAR 30


Moving around the circumference in a clockwise fashion we next find pillar 30.

EAST SIDE

I can find no record of the pillars east side, so I have to assume it is blank.

WEST SIDE/FRONT

We see again a hole deliberately driven through from west side to east but this time in total isolation. Other than that, the side of the pillar also appears blank but I cannot be absolutely certain because a large stone protrudes on this side blocking the lower part of the face.

Again, a serious gripe! A number of sides of the pillars still remain obscured by stones or parts of the surrounding masonry that subsided with time. As we will see later on, this includes covering crucial elements of carvings, something I do not believe would have been there in the original. Rather than excavate around the pillars to reveal the images in full, archaeologists at the site have seen fit to leave them as they found them and so regrettably we again are too often left in the dark when it really matters. Why? Because clearly fallen stones etc are more ‘authentic’ than these unique carvings!?

Anyway, the front face of the pillar is heavily decorated as above (note that I have blacked out the plain background on all the pillar faces containing carvings that I will use here so as to set the images off for you in sharp relief. I think it also helps to amplify their hypnotic power).

On the head of the ‘T’ we have the first of the enigmatic H’s but this time turned vertically. I am going to save my big reveal as to its derivation and meaning but I think the ‘H’ in whatever form is crucial.

We then have a single serpent slithering downwards towards the main body where 4 other serpents (thus 5 in total…. 4 and 5….4th and 5th???) crowd so tightly that they appear to be squeezing into the corner the figure of a Bull/Auroch facing the largest snake.

• 3 downward heading snakes, 1 large, 2 medium (1 of which is thinner with a smaller head) plus 1 upwards heading snake (or is it a double-header with smaller head still going down?) as if to greet the 5th above.

I have written extensively about the Bull/Auroch here.



The distinctive design – showing the body as if side on in full but the head as if viewed from above – is oft repeated at the site always in this precise manner and has been much discussed by researchers. It is my contention that the bull is represented as having fallen with legs now limp and its power draining away – but the head is shown this way as if to say, here lies its eternal power – the two great horns, the sacred Tau. For those who understand/get the analogy, think Aslan lying on top of the sacrificial altar having been slain by the witch with all his mighty mane shorn off in C.S. Lewis’ The Lion, the Witch and the Wardrobe. Eternally powerful but momentarily powerless.


SUGGESTED MEANING:

The great god of the circle and the bull has fallen. The head (the hole) and the bull are no longer of one body but separated and alone. The Serpents are swarming. They are the new masters here. And the H has fallen with them and is now inverted and the knowledge or power it represents now resides with us, the keepers of this place.​

​

I do hesitate to say it but could there be something about 4th and 5th density implied here… especially if one thinks of the bull as representing the cornered and co-opted creative power of 3rd density…?​

​

The whole image is certainly suggestive of the act of falling… ​

 

[rrraven]

So if the t pillars tell a story chapter one in the days when the H turned sideways so much lightning struck that all our cattle died
This flashed thru my mind when I read your last post

I am looking forward to your next posts as the story progresses

stories can have several complimentary meanings
Hamlet,s mill tells me most mythology speaks of celestial events
Even Thor was understood as a force of nature , our magnetic field, protecting earth , his mother, from bad things outside , namely cosmic rays ,
And his belt was more important than his hammer

 

[Michael B-C]

POST 12
STAGE 3 – PILLAR 22

The next pillar in sequence, Pillar 22, is the first of the decorated pillars that remains still partially submerged in masonry with all the small number of available images I can find showing it to be heavily buried in the surrounding walls.

Both sides of the headstone are blank.



Pillar 22, (left) Northern facing and (right) southern facing blank head.

From what I can determine so also is the northern facing side torso (however as you can see above left, only a portion is available to view in a photo image and at that, part of the lower section looks to be obscured by masonry, so I can’t be absolutely certain).

The only decorations we know of, therefore, are on the front torso and on the southerly facing side of the same.



(left) south facing decoration obscured by masonry (right) front torso decoration

The side in question has what I am confident is an obscured realisation of our cosmic fox, with its teeth barred in aggressive posture. There is a chance that there is a further figure hidden below under the stone work because there might be a small hoof or some such sticking out from behind a low stone.



But your guess is as good as mine! Thank you archaeology!

On the front torso we have our first set of embossed parallel lines running the length of the torso, sunken between which is a single raised representation of a serpent, in the motion of traveling down.

This parallel line motif motif we have met before. I think it is essentially a – or even the - principle power symbol and probably represents the pillar of authority upon which the great ‘head’ rested. Whether as mountain or tree or pillar its meaning remains the same. It was appropriated and ‘worn’ by the makers of the T-pillars (I suspect in costume form) and represented on pillars – particularly the key central pillars – as being a sign of ultimate authority and certainty. The sunken space between is often then used to portray icons of high significance.

This is where we want to reaffirm that the T-pillars themselves represent both divine power and terrestrial power (in the form of the pillar makers). The two become one. The T-pillar is both symbolic and anthropomorphic. As stated before I think the higher echelon of the T-pillar elite most likely had elongated skulls....



... and if we remind ourselves of a hideous sculpture from Karahan Tepe (above), were perhaps mighty grim to behold.



This also is witnessed by the icon known as the Kilsik T-pillar statue (above) discovered in the region and thought to have come from a T-pillar site.

Thus the intimate relationship between the T-pillar shape and an extended skull becomes to my mind obvious.

SUGGESTED MEANING:

The fox and the serpent… allied to a signature of cosmic and terrestrial authority. ​

​

The snake is the fox. The fox is the snake – they are symbiotically interlinked creating a singular power.​

​

Cunning, trickery and predatory intent – pure STS - the forces that strike in the night.​

​

But we have the knowledge to protect you from their power because we and they are one.​

******************************************************************************************************************************************


STAGE 4 – PILLAR 21



Pillar 21 is another enigma with more elements buried behind stonework.



As far as I can detect both sides and front of the head are blank.

There is a suggestion that there might be an image on the northern facing side of the torso (as above) but what it might be if there, it’s impossible to say.

There does appear to be a further set of raised parallel lines running down the front torso but there is no image inside.

The southern facing flank certainly has two figures and possibly a third. I’m leaning to there not being and that a hint of a third lower figure is just a trick of the eye due to the photographic image picking up some raised areas. I leave it to you to decide. If there is one there it is very badly faded compared to the two above.



As I say, on balance I don’t think it is there so I’m going for just the two figures as below.



Archaeologists say this is a gazelle above and a wild ass below. I agree with the first but not the second. I think this is a male and female pair of gazelles. There is no other ‘wild ass’ engraved anywhere else and it makes far more sense – plus the distinctive stylistic pose of the gazelle is mirrored by both animals plus the ears are identical (the male above has these behind his horns).



It also makes sense because the male/female union of the gazelle was absolutely central to the hunting culture and survival of the people of the time. The representation of both a male and a female gazelle equates to an image representing the whole species and its mass herds. Around 70% of their diet was gazelle dependent and so we can safely say that gazelle flesh was the bread of its time. Being a horned animal it was again associated with the sacred realm of thought, and though the Bull/Auroch was seen as the pinnacle of this way of symbolically viewing the world, gazelles were the staple of life and as such had great meaning to the people. And their wannabe masters.

That’s why they put so much effort into rolling out the Kite technology across the whole region (as previously stated I think this killing machine came south with them from the north via Armenia before spreading across Anatolia, the Levant and even to the Saudi Arabian peninsula).



This isn’t the place to revisit kite technology in depth, but it essentially enabled people to indiscriminately kill gazelle – males, females and young – in vast quantities. Archaeologists are astounded and baffled by the sheer number found to be in operation and they accept this technology was used on an industrial scale and that the management and spread of these sites was likely via an elite network.

I equate it to a drug dealer who knows his dependents want his drugs so he has to play the ‘caring’ provider because he needs their resources/money. The kite gave the elite the chance to be top of the pile (access to and distributive power over surplus resources), it gave them access to large numbers of people who they were able to control and ritually train through providing access to a glut of meat. There are clear signs that a series of rituals and rules governed their use and access and it has all the hallmarks of being a secret society brainwashing exercise whilst creating total dependency. It also led to the long-term destruction of the mass herds and a breaking of the symbiotically natural relationship between hunter and prey, making space eventually for the necessity of agriculture.

SUGGESTED MEANING:

Access to the gazelle – the food of life – the child of the great god – is in our total control and has been granted to us by the powers of the cosmos because of our higher esoteric knowledge. ​

 

[Michael B-C]

POST 13

STAGE 5 – PILLAR 20


Pillar 20 is situated towards the south. Photographs of its surfaces are very hard to track down and all low grade, but from those I have managed to identify, as far as I can determine, all the faces of the headstone are blank along with the east side of the torso.



(left) blank east flank and head of Pillar 20 (right) blank front of head and blank west side of head

There are sculptures however on both the front of the torso and the southern flank.

Starting with the flank, we find this:



Martin Sweatman thinks this is a boar. The archaeologists at the site say no, it is a fox. On balance, I’m with the archaeology because:

1. Though in the single low resolution picture publicly available there does appear to be a hint of a shape reminiscent of an upturned tusk emerging from the lower lip, the whole shape of the animal is way too foxy and lithe when compared to the compact and solid way in which boars were stylised, and I think what Sweatman is seeing is really a trick of the eye played by the erosion of the stone work (something he does repeatedly to fit his model).
2. As you can see above and further below, there is also a second fox head with partial front leg (though damaged and now incomplete) on the front of the torso which directly faces the head of the fox on the flank. Double foxes appear a number of times at this site and elsewhere, sometimes ‘dancing’ together as if delighted to meet, and I think this double fox motif was of great significance and likely replicated here. The fox on the flank, obviously male from the distinct genitalia, is also depicted in a posture of greeting with the hint of an erect tail, which only makes sense if it is responding to its partner .

Porthole stone from the later Enclosure ‘B’ with ‘dancing’ foxes either side guarding the 'body'/entry with a bull’s head above. The divine twins who guard or protect the pillar or body of the great god/bull is a symbolic motif that lasts down to Roman times and can even be found in the concept of Gemini




(left) close up of raw original showing the anomaly over the the top of the snout (middle) outline as if a fox (right) outlined as if a boar.



Side by side atypical depiction of a fox and boar showing very different facial, body, leg and tail representations.

This is not the place to dwell on the matter, but the twin foxes who appear at times to play the same role as all the divine twins who protect or collaborate with the pillar god device so as to maintain unity, may well be suggestive of an ideology shift with cunning and trickery having now taken over this balancing act.

Moving on to the front torso of T-pillar 20 we find this design:



We have already met on pillar 30 multiple serpents surrounding the prostrate Bull/Auroch. Well here, another level has been added to that concept; the bull’s ‘escape’ has been cut off at the head by the serpent and in the rear by the head and front torso of the second fox (badly damaged though it is).

Once again, here is the collaboration and united purpose of the fox and the serpent.

• The Bull faces up to the heavens.
• The Serpent comes down from the heavens to face the bull.
• The Fox is below, closer to earth (and the terrestrial realm?)
• The Serpent and the Bull come with within ‘breathing’ space of contact.

Is this close contact representing a form of hypnosis, or mesmerizing? Is the suggestion here that the power of the bull is now almost fully under the command of the serpent?



From shaft straightener, Tell Qaramel

This reminds me of the above motif we have met before and oft repeated in various forms on shaft straighteners in the region of the northern Levant. The binary opposition between a horned serpent (note the horns on its back) above and what I will call the tree of life below. Between STS and STO? Between destruction and creation. Between control and deceit and creativity and sharing? There may be many concurrent meanings to this type of symbolic representation including some form of witnessed or comprehended informational/electrical exchange/cosmic clash taking place i.e. thunderbolts of the gods – but I think it’s fair to suggest we are facing a time at which a directly oppositional / binary driven ideology was being promoted.

Note that this trinity of interaction all take place within the limiting confines of the parallel lines motif (amplified by the way the fox at the bottom appears to have emerged only in part from behind the edge of this demarcation). This once more amplifies the sense of its authority, and even perhaps its nature as representing also a secret window into the deep beyond where hidden knowledge and power truly lies. I find it interesting that there is a possibility that someone saw reason to attempt to smash the bottom Fox off the pillar while leaving the other intact. Noting again the ‘greeting’ of the two foxes, one from within the lines and one on the outside of this domain, so could this mean that one Fox co-represents in some way with the serpent 4DSTS, whilst the other stood for 3DSTS?

I imagine that such a knowledge was only reserved for the highest grade of initiates. For most others, enacted stories of ‘animal’ comet gods, angry thunderbolts and cosmic clashes in the heavens above all with destructive powers for humans along with basic lessons on how only our rituals of blood sacrifice and obedience will keep them at bay, was all that was communicated to the vast majority. But to others, these ‘signs’ and ‘magical images’ concerning deeper reality were perhaps key teaching aides and were profoundly impactful… especially for a people who so rarely saw images and then only in very basic form of miniature on stones that they could hold in their hands and keep in their ‘pockets’…

SUGGESTED MEANING

The hidden masters of this newly changed environment have the source of life and hence the future direction of this terrestrial domain under their spell. The bull has become our prisoner. We rule here from within the unseen and seen realms. We will use the power this gives us to dominate here on earth. We are foxes; we ride the serpent of power. ​

STAGE 6 – PILLAR 19


Pillar 19, one of the two southerly pillars, is badly damaged, so much so the head has broken away entirely from the torso with the majority of the body of the pillar now totally obscured by supporting masonry and with the head now propped up on a pile of stones.



(left) westerly face of the blank headstone. Note the body of the pillar from which it has come away hidden among stonewalls behind it. (right) the easterly side of the headstone showing it is blank also.

From what I can determine there is only one carving on the whole pillar – but because of the obscuring and damage it is impossible to say if this is 100% for certain.



A single serpent this time, slithering down the front of the head stone.

Whether there are further designs on the front of the torso now hidden behind the pile of stones supporting the head, it is impossible to say. However, from the small stub of the front torso still visible, there doesn’t appear to be any sign of any raised parallel lines running down the front, so this leads me to suspect there weren’t.

Therefore, any meaning for this pillar remains open to question because of the damage and obscuring. Having said that, a single serpent on the front of the head could have been all that was intended. I will not attempt a guess as to its overall symbolic meaning within the course of the whole circle other than to say:

SUGGESTIVE MEANING

Come what may, the Horned Serpent rules the head.​

STAGE 7 – PILLAR 32



Pillar 32 is the first of only two pillars in Enclosure ‘D’ that are completely blank.



That means 9 out of 11 pillars have decorations. I’m just saying – 9/11… Moving on…!

Why any - let alone specifically just two - should be blank is a mystery, especially if you consider my proposition that they may all act as a singular ideology or narrative in stages and therefore a break in the sequence here would be clearly deliberate for some unknown reason but specific to this point. It is the 6th pillar… it is also the 7th clockwise in sequence if you include the stone with a hole through it situated at the northern end of the enclosure. It is one of pair of southerly pillars at the apparent entrance to the enclosure, one of which has a serpent on its head.

Other than that, your guess is as good as mine, so please do suggest possible reasons if they come to you.

 

[Wandering Star]

POST 13

STAGE 5 – PILLAR 20

View attachment 69544
Pillar 20 is situated towards the south. Photographs of its surfaces are very hard to track down and all low grade, but from those I have managed to identify, as far as I can determine, all the faces of the headstone are blank along with the east side of the torso.

View attachment 69545

(left) blank east flank and head of Pillar 20 (right) blank front of head and blank west side of head

There are sculptures however on both the front of the torso and the southern flank.

Starting with the flank, we find this:

View attachment 69546

Martin Sweatman thinks this is a boar. The archaeologists at the site say no, it is a fox. On balance, I’m with the archaeology because:

1. Though in the single low resolution picture publicly available there does appear to be a hint of a shape reminiscent of an upturned tusk emerging from the lower lip, the whole shape of the animal is way too foxy and lithe when compared to the compact and solid way in which boars were stylised, and I think what Sweatman is seeing is really a trick of the eye played by the erosion of the stone work (something he does repeatedly to fit his model).
2. As you can see above and further below, there is also a second fox head with partial front leg (though damaged and now incomplete) on the front of the torso which directly faces the head of the fox on the flank. Double foxes appear a number of times at this site and elsewhere, sometimes ‘dancing’ together as if delighted to meet, and I think this double fox motif was of great significance and likely replicated here. The fox on the flank, obviously male from the distinct genitalia, is also depicted in a posture of greeting with the hint of an erect tail, which only makes sense if it is responding to its partner .

View attachment 69547

Porthole stone from the later Enclosure ‘B’ with ‘dancing’ foxes either side guarding the 'body'/entry with a bull’s head above. The divine twins who guard or protect the pillar or body of the great god/bull is a symbolic motif that lasts down to Roman times and can even be found in the concept of Gemini


View attachment 69550

(left) close up of raw original showing the anomaly over the the top of the snout (middle) outline as if a fox (right) outlined as if a boar.

View attachment 69551

Side by side atypical depiction of a fox and boar showing very different facial, body, leg and tail representations.

This is not the place to dwell on the matter, but the twin foxes who appear at times to play the same role as all the divine twins who protect or collaborate with the pillar god device so as to maintain unity, may well be suggestive of an ideology shift with cunning and trickery having now taken over this balancing act.

Moving on to the front torso of T-pillar 20 we find this design:

View attachment 69552

We have already met on pillar 30 multiple serpents surrounding the prostrate Bull/Auroch. Well here, another level has been added to that concept; the bull’s ‘escape’ has been cut off at the head by the serpent and in the rear by the head and front torso of the second fox (badly damaged though it is).

Once again, here is the collaboration and united purpose of the fox and the serpent.

• The Bull faces up to the heavens.
• The Serpent comes down from the heavens to face the bull.
• The Fox is below, closer to earth (and the terrestrial realm?)
• The Serpent and the Bull come with within ‘breathing’ space of contact.

Is this close contact representing a form of hypnosis, or mesmerizing? Is the suggestion here that the power of the bull is now almost fully under the command of the serpent?

View attachment 69553

From shaft straightener, Tell Qaramel

This reminds me of the above motif we have met before and oft repeated in various forms on shaft straighteners in the region of the northern Levant. The binary opposition between a horned serpent (note the horns on its back) above and what I will call the tree of life below. Between STS and STO? Between destruction and creation. Between control and deceit and creativity and sharing? There may be many concurrent meanings to this type of symbolic representation including some form of witnessed or comprehended informational/electrical exchange/cosmic clash taking place i.e. thunderbolts of the gods – but I think it’s fair to suggest we are facing a time at which a directly oppositional / binary driven ideology was being promoted.

Note that this trinity of interaction all take place within the limiting confines of the parallel lines motif (amplified by the way the fox at the bottom appears to have emerged only in part from behind the edge of this demarcation). This once more amplifies the sense of its authority, and even perhaps its nature as representing also a secret window into the deep beyond where hidden knowledge and power truly lies. I find it interesting that there is a possibility that someone saw reason to attempt to smash the bottom Fox off the pillar while leaving the other intact. Noting again the ‘greeting’ of the two foxes, one from within the lines and one on the outside of this domain, so could this mean that one Fox co-represents in some way with the serpent 4DSTS, whilst the other stood for 3DSTS?

I imagine that such a knowledge was only reserved for the highest grade of initiates. For most others, enacted stories of ‘animal’ comet gods, angry thunderbolts and cosmic clashes in the heavens above all with destructive powers for humans along with basic lessons on how only our rituals of blood sacrifice and obedience will keep them at bay, was all that was communicated to the vast majority. But to others, these ‘signs’ and ‘magical images’ concerning deeper reality were perhaps key teaching aides and were profoundly impactful… especially for a people who so rarely saw images and then only in very basic form of miniature on stones that they could hold in their hands and keep in their ‘pockets’…

SUGGESTED MEANING

The hidden masters of this newly changed environment have the source of life and hence the future direction of this terrestrial domain under their spell. The bull has become our prisoner. We rule here from within the unseen and seen realms. We will use the power this gives us to dominate here on earth. We are foxes; we ride the serpent of power. ​

View attachment 69554

STAGE 6 – PILLAR 19
View attachment 69555

Pillar 19, one of the two southerly pillars, is badly damaged, so much so the head has broken away entirely from the torso with the majority of the body of the pillar now totally obscured by supporting masonry and with the head now propped up on a pile of stones.

View attachment 69556

(left) westerly face of the blank headstone. Note the body of the pillar from which it has come away hidden among stonewalls behind it. (right) the easterly side of the headstone showing it is blank also.

From what I can determine there is only one carving on the whole pillar – but because of the obscuring and damage it is impossible to say if this is 100% for certain.

View attachment 69557

A single serpent this time, slithering down the front of the head stone.

Whether there are further designs on the front of the torso now hidden behind the pile of stones supporting the head, it is impossible to say. However, from the small stub of the front torso still visible, there doesn’t appear to be any sign of any raised parallel lines running down the front, so this leads me to suspect there weren’t.

Therefore, any meaning for this pillar remains open to question because of the damage and obscuring. Having said that, a single serpent on the front of the head could have been all that was intended. I will not attempt a guess as to its overall symbolic meaning within the course of the whole circle other than to say:

SUGGESTIVE MEANING

Come what may, the Horned Serpent rules the head.​

STAGE 7 – PILLAR 32

View attachment 69558

Pillar 32 is the first of only two pillars in Enclosure ‘D’ that are completely blank.

View attachment 69559

That means 9 out of 11 pillars have decorations. I’m just saying – 9/11… Moving on…!

Why any - let alone specifically just two - should be blank is a mystery, especially if you consider my proposition that they may all act as a singular ideology or narrative in stages and therefore a break in the sequence here would be clearly deliberate for some unknown reason but specific to this point. It is the 6th pillar… it is also the 7th clockwise in sequence if you include the stone with a hole through it situated at the northern end of the enclosure. It is one of pair of southerly pillars at the apparent entrance to the enclosure, one of which has a serpent on its head.

Other than that, your guess is as good as mine, so please do suggest possible reasons if they come to you.

It has occurred to me to think of the ying-yang symbol and its small white circle for balance, on the black side.

In short, I have related the white pillar to this, a representation of the need for an opposing force for balance.

 

[rrraven]

If the pillars tell a chronological story , maybe of the journey the people took to get there , a blank pillar could mean a time period where nothing happened
I still ,,see,, the snakes as lightning , which can be a creative force not just a destructive one
Mushrooms get stimulated to fruit when the ground is hit
Commercial mushroom growers use cattle prods to encourage theirs to fruit
Reindeer love fungi , maybe gazelles do too
What was the climate like when GT was built?

 

[Wandering Star]

If the pillars tell a chronological story , maybe of the journey the people took to get there , a blank pillar could mean a time period where nothing happened

Yes, I thought so too.

In that aspect I thought of the "long count" calendar of the Mayas.

5,200 years multiplied by 13 pillars gives 67,600 years, which is close to the arrival of the Kantek people on the planet.

 

[Michael B-C]

POST 14A

STAGE 8 – PILLAR 33

This is going to be a monster post on a single pillar, which I will probably have to split in 2. However, it should be worth it, so, sit back and grab your popcorn!

It seems as ever that the universe enjoys nothing more than a good joke! The number 33 assigned to this pillar is entirely random in that it just happened to be the 33rd pillar belonging to the whole site in order to be excavated. We will come to pillar 43 (the famous Vulture Stone) anon, the one pillar to receive overwhelming attention and notoriety thanks to its complexity and originality. How pillar 33 has escaped almost any comment let alone that on a par with pillar 43 is beyond me, for to my mind it is as - if not more - remarkable. I think it may well even be the key STS primer stone of the whole design. It is as esoterically significant as anything else you could possibly associate with the infamous number 33.

Having built up in small steps thus far, the imagery suddenly explodes into multiple forms of complexity. Of the 6 faces (head and body) available to the designers, 4 are covered with unique and highly significant iconography much of which is not repeated again in the same way anywhere else at the site.

The blank 2 areas are the front and westerly facing side of the head.



(left) blank front of head (right) blank westerly side of head.

As for the rest…

Let us start with the head and its easterly side:



There are clearly three large, long necked water birds side by side. The few academics who discuss this mostly disagree as to their species. They could be anything from geese to flamingos or a combination of both.



I think there is the possibility of a fourth bird, sketched almost like graffiti and perhaps added much later on, rather than embossed out as relief as these three were.

For now, let’s just say for certain three long legged water birds of some size.

If we move down onto the flank of the torso below, we find further bird images realised with more scale and detail but this time with some very bizarre accompanying features:



This is where things start to get extremely interesting!

So what have we got here?

Two further large water birds with long beaks and very long legs. They are almost certainly cranes.

There are two species of crane found in Turkey: the Eurasian Crane and the Demoiselle Crane.


(left) common Eurasian Crane (right) rarer Demoiselle Crane

Furthermore, Cranes very noticeably have three forward pointing ‘toes’ (with a fourth smaller spur behind for support).



On the basis that the Demoiselle is smaller and much rarer whilst the Eurasian crane was eponymous, larger and more impressive (and more widely involved in mythology), as well as the distinctive way the bushy, shorter tail of the Eurasian crane seems to be depicted, I think that is what was represented symbolically here.

This adds to the idea that on the whole of this side, head and flank, 5 large water birds are depicted, with at least 2 of them being cranes, with the possibility of a 6th bird added or differently engraved for some reason.

Beside the cranes are x 2 further ‘H’ symbols on their side in line with the one we previously encountered on pillar 30.



The ‘H’ on its side on the left seems to be slightly italicized as opposed to the ‘H’ on the right, with the crane’s neck dividing them and its beak near resting on the top of the version on the right… this slight italicisation may be symbolic or it may be a product of the sculptors need to fit it in so tightly between the leg of one crane and the neck of the other... who knows...

Then we have a series of 13 flowing lines that start behind the lower crane and then flow forward in front of both cranes and the 2 ‘H’s’ towards the front torso.

Let us see now what is on the opposite side of the body….



Holy camoly!

Our cosmic fox again, but this time with teeth barred and rearing, whilst it is as if from out its stomach and lower feet, a further spew of flowing ‘somethings’ again head towards the front of the body.

So where and in what form do all these lines of force converge…?

I find it quite astonishing that there are no full depictions of the whole front of this remarkable design anywhere in either published academic papers or online, so I have had to reconstruct the following from piecing together information from a number of photographic sources or elements. But this is what the front of the pillar body delivers:



Where to begin….!?

• The first thing to note is the flowing lines, (passing the birds on the one side and emanating from the fox on the other), become clear here where the heads of multiple serpents all converge, peeping round the front as if gathered to take part in some grand ‘show’. 11 larger heads on the left coming from the bird side, 13 smaller from the fox side. It is interesting to immediately note that these two numbers ‘bookend’ or ‘surround’ the number 12. Also that both 11 and 13 have certain significant esoteric and numerological significance.
• So the pillar is covered in the power of free-flowing serpents, some emanating directly from a rearing fox, others passing through/by 2 cranes and 2 H symbols.
• If we now consider the highly complex front torso design, (and once again note that the carvings cover both the outside edges and sunken inside of the parallel lines motif) working down from the very top, (and in between our raised parallel line motif), we initially find x7 small serpent bodies ending in heads, all lined up in a clear row.
• These then appear to morph into a swarm of serpent bodies which descend to/behind, beneath an upright ‘H’ symbol before traveling further down to where they split into specific heads – 3 maybe 4 large with 4 smaller ones branching off as if being born into full power.
• These then face down towards a further repeat of the upright ‘H’ symbol.
• Up to this point, on either side on the surface of the outer feature of the raised parallel line motif are first a descending swarm of cloud like (serpentine?) entities meeting a repeating upward pointing set of chevrons –14 of which on both left and right, so 28 in all.
• Below this point, when the serpent head observers begin, there is first an insectoid figure as it clearly has x 6 legs.
• Below that again, and seeming to branch out from the snake heads on the left, a further 4 serpents (3 large, 1 small) swarm in and flow down from the left.
• Where their heads are and along with all the other serpent heads flowing in from both sides, they form an entrapment for a horned creature in flight that is most likely a Ram.
• Beneath this, right at the bottom, we find another insect… or do we we…? Because if we count the legs there are now 8. So no, not a further Insecta but this time an Arachnida – for it is clearly a spider.
• On either side of the spider are at least one, possibly two more, H’s (we will come back to this issue), but this time on their sides.

In sum total, between sides and front, this is one extraordinary and mighty complex composition with absolutely no parallel in iconography before or since!

I have thought a great deal about this front piece and its relationship to the two sides. I essentially conclude that it is the primal depiction of the ‘whole event’ – both seen and unseen – that inspired this site.

 

[Michael B-C]

POST 14B

STAGE 8 – PILLAR 33 (cont'd)


In a further thought experiment, I am now going to break down the front narrative – for that’s what I think it is – into three distinct stages:

STAGE 1



I think this represents the very beginning of the overriding myth, ‘chapter 1’ of which I will title ‘The Initial Confrontation’. Above the powers of destruction/STS, below the powers of balance and harmony/STO. They represent both a physical reality (the turmoil of cosmic catastrophe) and an esoteric reality (leading to a game of illusion centred on the human mind).

At the top in the centre, the line of 7 snakes. I think these are connected to the 7 ‘Pleiades’ from which and via which all hell originally broke loose at the time of the Younger Dryas event. Depicted small at first but they seem to then morph into a solid host of swollen serpents that seem to compress down upon the ‘H’ symbol below.

Either side, the swarm is repeated but it a more intense way and these are met by upward pressure from the chevrons. Note these chevrons point upwards. As we have and will see again, I think the STS version uses chevrons pointing down (on multiple power statues and on the T-pillars themselves where they are worn as signatures of authority). I can’t help but think of the below, the ‘G’ of which may possibly make an appearance on a later pillar.



In total, this stage may represent the onset of battle with the equal but opposite great powers matched against each other.


STAGE 2



On to ‘Chapter 2’, and what I will call ‘The Pressure Mounts‘

The serpents seemingly have here by passed the first layer of the power and authority of the ‘H’ as represented in stage 1, and so below it have now formed (and are forming further) larger heads. This may represent the build-up of pressure via a sustained attack. There are still upward chevrons either side of the second ‘H’ but now serpent heads come around from the sides and begin the process of hemming their opponent in. Here, though, the power and nature of the ‘H’ may be being further represented at a terrestrial level by its combination with a 6 legged insectoid – as a symbol of harmony and nature’s inherent creative power, a sign perhaps of ‘natural’ terrestrial authority. Here I bring to mind the harmony and balance of say a queen ant as overseer of the entire colony, or possibly even a queen bee (which also has 6 legs). The particular bent arm gestures should be by now familiar.

I refer you back to this image from Tel Qaramel:



The suggestion here is of a power insect (looking to me like a queen) with even a hint of stress in the face and body gesture as the ‘insect’ being hemmed in by serpentine forces.

Interestingly much later on in the early PPNB, something similar is being suggested by the remarkable freeze recently unearthed, cut into the front of a long bench (so suggestive again of secret society activity) at the connected and nearby site of Sayburç.



Here there are two stages to a narrative (and there may be still more buried) in which to the right the central figure in this part of the narrative, this time very much human in feature but still clearly highly stylised, presents itself in between two attacking lions or leopards depicted in the same distinctive fashion as they are on T-pillars at GT. I think it is likely a further derivation and perhaps a perversion of the ‘H’ figure / ancient power but now ‘appropriated’. Again it is set within a specific niche like space as if inhabiting a different level of reality (hence it is also the only figure carved in 3D and also faces directly out at us). The figure is carved in such a way to suggest ‘he’ is sitting (on a throne/mountain?) and holds ‘his’ male genitalia as if the power of creation is being highlighted.



However, note he now has downward pointing chevrons at his throat in line with all the other statues and T-pillars – so this suggests the nature of this figure is well on the way to being appropriated. His mouth is shaped with large lips forming a toroid/donut.

My instinct is this figure is pure propaganda – it’s saying something like ‘we the new elite have replaced the old god and we now hold the generative power and ritual magic to fight off those monsters of chaos when they next show their faces’. However, they are still using the old motif and knowledge as their blueprint.



To the left is a separate if connected element of the ‘story’. A familiar depiction of the Great Bull/Auroch, again in side on depiction but with the power signature of its horns seen as if from above. To the Bull’s right another strange ‘human’ figure, this time in profile:



The big questions are:

• Who is this?
• Why does ‘he’ have 6 fingers held aloft?
• What is he holding?
• Why is it being dangled before the head/nose of the bull?

Well… the figure is again being depicted in a sitting position. The left arm is held high in the classic gesture of connection to the above/mimicking the curve of the bull’s horns. The 6 fingers are likely a reference to the appropriated power of creation. The object being held is very hard to determine, but is possibly a dead serpent or serpent skin.

My suggestion is this is an image of the mesmerizing of the bull and the appropriation of both its creative power and that of the serpent and may be connected to the suggestion that the powers of creation were ‘tricked’ into becoming a tool of the STS realm… something like that!

Propaganda of the highest grade in other words.

Time to get back to our front torso narrative…

STAGE 3



The final stage in the pageant. I will call this chapter ‘Victory was ours!’

By this stage, the chevrons are all gone and the central area is completely hemmed in by snakeheads. Indeed 3 major (and one smaller) serpent heads have broken through from the left out of the head of the 4th serpent down and fill the majority of the space, for the power of the ‘H’ has by now been entirely vanquished.

In its place there is now a Ram in flight

This is the first representation of a sheep/Ram at this site – the ram of sacrifice. This is not the place to go into the transference of authority from the bull to the ram but as time went by the ram increasingly became the predominant symbol for a sacrificial offering. It is worth remembering that the much later dismemberment of the full-scale representation of the Great Bull of Heaven (Taurus) was done to accommodate the creation of the Ram (Aries) in the later heavens. It is also worth remembering how in Egyptian iconography a miniature sheep/Ram sits astride the dismembered leg of the bull on the Dendera Zodiac, peering down at side by side depictions of Taurus the bull and Aries ….



It is also worth remembering that attached to the dismembered leg of the bull – set at the northern polar centre of the whole system - is a fox/jackal… set astride which what the Babylonians came to know as the ‘Ropes of Heaven’.



Back to our story…

Below the Ram (a replacement for the ‘H’ symbol), now sits an eight-legged spider (a replacement for the 6 legged insect). Can this be a sign for anything other than an early form of the ‘Consortium’…?

Whatever the case, I think the visual meaning within the context of the evolving narrative is self-evident – the spider now rules the terrestrial realm where the insect ‘queen’ once ruled supreme. And the ram of sacrifice is this new world order’s public symbol of the right to rule.

Give us your daily sacrifices and we will keep all the above at bay in the future… because we now have the power… as witnessed by the ‘defeat’ of and the ‘betrayal’ by the previous world order…

For beneath it all – right at the bottom of the story sequence lies the defeated body - or bodies - of the ‘H’, now inverted, hemmed in and near forgotten.

There is a question as to whether one or two H’s on their sides are depicted. As stated previously there are very few photographic images available of this section but from one we see the following:



Clearly, there is one ‘H’ on its side depicted on the bottom left side of the front, even though it is now partially eroded and obscured beneath the stone floor. However, the right side area does appears to be blank. I am in two minds about this – whether the other was erased for some reason at some point in the past… or alternatively perhaps there is meaning in the blank space where the balancing other ‘H’ on its side should have been… (remember there are x 2 such H’s on the bird side of the torso).

It is time now to address the possible meaning of the ‘H’ and its form on its side.

Anyone following this thread to date will know that this figure has been central and implicit core aspect all along.



The idea came to me in a flash of inspiration one day whilst contemplating this figure that repeats over and over in rock art right across the world and is also picked up in countless cultures, statues and carvings.

Without further introduction, here therefore is my suggestion as to its source…



And as for the ‘H’ on its side…



The great god/plasma configuration shorn of its twined ‘eyes’, being the stage of breakdown when the plasma toroid, (a doughnut shaped electrical phenomenon that forms at the core of a birkeland current z-pinch) during one of its evolving stages ahead of disintegration appears like a pair of eyes left and right, … a critical step before the whole structure collapses….





The 'H' in either form is therefore later code for a gigantic electrical/plasma figure.

I don’t know what else to say on this matter… you either see it and think yes that holds real possibilities… or you dismiss it as bonkers!

But it is entirely story consistent and if a possibility adds considerably to our understanding of the importance of this depicted change in cosmic reality.

I find it very interesting that the so called Mesoamerican ballgame was ichnographically based around an ‘H’ on its side design.

The Mesoamerican ballgame was a sport with ritual associations played since at least 1650 BC by the pre-Columbian people of Ancient Mesoamerica. The sport had different versions in different places during the millennia.

The Mesoamerican ballgame had important ritual aspects, and major formal ballgames were held as ritual events. Late in the history of the game, some cultures occasionally seem to have combined competitions with religious human sacrifice.

Pre-Columbian ballcourts have been found throughout Mesoamerica, as for example at Copán, as far south as modern Nicaragua, and possibly as far north as what is now the U.S. state of Arizona. These ballcourts vary considerably in size, but all have long narrow alleys with slanted side-walls against which the balls could bounce in.

In particular, various Aztec codices are littered with images of both the normal and ‘H’ on its side version. Academics believe these represent the game and playground of the gods where the human terrestrial version was derived from. There are also some very interesting images of likely cosmic dragons spewing out or eating (?) H’s.



So finally, coming back to the whole unified iconography of Pillar 33, our unfolding narrative on the front is further supported by the dancing brazen Cosmic Fox as being a primary source of much of the mayhem. There is also the sense that the deeper STO power as represented by the water birds/cranes (which seem here to be more associated with a partnership or symbolic relationship with the ‘H’), was in some way circumvented or even ‘tricked’ perhaps again symbolically suggesting that the ‘guardians’ of the old regime were powerless to stop this – or even in some way presented as being complicit?!

I have undoubtedly exhausted your patience. Still, I hope there has been something of value for you the reader in this thought exercise. It would be fascinating to read what others see here – but the challenge is not to pick and mix but rather to deal with the whole design as a singularity head on. My attempt is no doubt riddled with holes and I’m sure there are layers I am missing (though I do not think these images were obscure or diluted as so many later symbols were – I think they were right out there in the open and fully comprehended by both makers and high initiates who viewed them) so please do pull my offering apart and fire away with your own.

We’ve just 4 more pillars to go to complete the circle.

 

[Pierre]

Michael thank you for sharing of your researcher. In attachement you will find a pretty extensive paper about the dating of Göbekli Tepe titled "Establishing a Radiocarbon Sequence for Göbekli Tepe. State of Research and New Data" by Oliver Dietrich and Jens Notroff. Hope it helps!

 

[Michael B-C]

Michael thank you for sharing of your researcher. In attachement you will find a pretty extensive paper about the dating of Göbekli Tepe titled "Establishing a Radiocarbon Sequence for Göbekli Tepe. State of Research and New Data" by Oliver Dietrich and Jens Notroff. Hope it helps!

Thanks Pierre. Yes I have that paper dating from 2013. It inadvertently highlights the whole problem with dating the different elements of the site:

Conclusion

As a preliminary conclusion, the still limited series of radiocarbon data seems to suggest that Layer III enclosures at Göbekli Tepe were not exactly contemporaneous.

Earliest radiocarbon dates stem from Enclosure D, for which the relative sequence of construction (ca. mid-10th millennium calBC), usage, and burial (late 10th millennium calBC) are documented.

The outer ring wall of Enclosure C could be younger than Enclosure D. However, more data are needed to confirm this interpretation.

Finally, Enclosure A seems younger than Enclosures C and D.

With only eleven radiocarbon dates, many questions remain. It is hoped that the recent discovery of larger amounts of carbonized material at Göbekli Tepe will soon provide us with further dates and a much firmer grasp on the absolute chronology of this unique site.

Here Enclosure D is said to be the oldest... but wait, the circle around 'C' could be older still... even though archeologists claim it was clearly added to C after its construction to support it against subsidence coming down from the hill above... etc

Near 10 years on from this paper, precious few if any significant efforts at radiocarbon dating have gone on (I watched a video interview recently from the back end of 2021 with the lead archeologist at the site and he spoke about new radiocarbon samples being done... though 3 years on he is still waiting for the results!). And of course no one can date the stone carvings, only the carbon materials found in proximity and in between loose stonework... not to mention the whole problem with heavy contamination due to the burial of the site compacting later sourced debris and materials right up against and into the walls of the monument.

I have gone for now with the currently accepted model of Enclosure 'D' being the earliest, possibly closely followed by 'C' with a date of circa 9,500BC for first construction... but there really is not enough good reason to stake one's life upon the surety of such a figure...

 

[Esote]

Thinking out of the box doesn't exhaust my patience
Thank you so much Michael for such a great work !

 

[Polperro]

Michael this has been a phenomenal read!

Incredibly researched and well structured. This should be a book.

I am enthusiastic to read more if ever you get the time! The ideas and notes I’ve taken have given me some brilliant leads, I stumbled upon this website only in the last year or so, whilst conducting my own personal research, I’ve been hoping to find such detailed analysis and counter argument to the current Gobekli theory.

I would love to bring up your research upon the mortars and pestles you mentioned found at the site,

In regard to the Mortars and Pestles found at Gobekli Tepe, you reasoned “It is my suggestion therefore, that these mortars were ritual gifts or temple dues”. Which is a fair assessment considering the seeds and grains found, but to add an extra layer…

now I was fortunate enough to recently stumble upon the session below regarding pestles….

Session 20 September 2014​

Pierre) I have another question if we can change topic. There is this French scientist who discovered those Paleolithic pestles made of rock. For decades they thought they were used to crush seeds or whatever. By chance, he dropped one - and he's a musician - and he found that it sounded good when it hit the ground. So, he started to analyze all these pestles. He found that each of them was tuned. Each of them generated a perfect note. Now their hypothesis is that the pestles weren't pestles, but a musical instrument. Are these pestles only used as musical instruments?

A: No, not even close. Healing tones produced when struck in correct sequence and combination.

Q: (Pierre) So it means some kind of music? Perfect tunes? If you play the right notes in the right sequence... And the right combination... Music can be healing.

A: Important that the tone is accompanied by subtones and frequencies that are natural to the stone and "speak" to the cells in the body.

Q: (L) So I guess you can't just play the music.

(Pierre) No, it's more elaborate than that. But it means a great amount of knowledge...

A: Notice the specific stones chosen for Stonehenge.

Q: (Perceval) What are they made of?

(L) Blue stones, and something else... Several kinds. Alright. Next?

This could signify that Gobekli tepe was as much a Healing Center as anything else using the Pestles as instruments? and although purely philosophising while writing here, if we consider this to be frequency healing then could this have a potential reason for shape of structure of Gobekli tepe, although not sharing characteristics of the Barabar caves in structure, the common theme being frequency regulation and of course stone manipulation.

also, I believe the sister site at Karahan tepe would have been the exact same. I certainly conquer that Karahan tepe would have been water based, which only adds to the theory as water can have a big effect on vibration/frequency strength, gaining up to 4 times the strength of signal of sound wave and this would even lead into the world of the Japanese hado water therapies.

So perhaps Gobekli Tepe is the medicinal chamber?

Thanks again for such an amazing study, and the timeline was hugely beneficial!