Deluge of Atlantis

Deluge of Atlantis
Deluge of Atlantis

Thursday, May 17, 2012

Suppressed By Scholars: Twin Ancient Cultures On Opposite Sides Of The Pacific

Suppressed By Scholars: Twin Ancient Cultures On Opposite Sides Of The Pacific

Twin Ancient Cultures Opposite Sides Of Pacific
Monday, May 14, 2012 10:14

One of the greatest archaeological riddles—and one of the grossest academic omissions—of our time is the untold story of the parallel ruins left by two seemingly unrelated ancient civilizations: the ancient Mayans on one side of the Pacific Ocean and the ancient Balinese on the other. The mysterious and unexplained similarities in their architecture, iconography, and religion are so striking and profound that the Mayans and Balinese seem to have been twin civilizations—as if children of the same parent. Yet, incredibly, this mystery is not only being ignored by American scholars, it’s being suppressed.


What does archaeology have to do with big politics and big business? Everything. This next statement, written in boldface, may sound absurd to you; but please keep reading, then look at the photographic evidence in this article, then draw your own conclusion:
By controlling major academic institutions and the mass media, a vastly wealthy elite group of powerful corporate families is successfully hiding historical and spiritual truths of our ancient past. The goal of this group is to maintain a secretive global system of economic and political tyranny that their forefathers established more than a century ago that was once termed the “Invisible Government” by influential American leaders.
More specifically, this elite are concealing the fact that there once existed a highly-sophisticated “Golden Age” civilization on earth in remote prehistory. This Golden Age civilization ended abruptly, but left behind a powerfully-advanced spiritual doctrine that was later inherited by the world’s first known civilizations, all children of the Golden Age.
The world’s first cultures inherited and practiced this “Universal Religion” via the now-academically-taboo process called “hyperdiffusionism,” a pejorative 20th century term recently invented by the establishment media and academia:


“Hyperdiffusionism — the theory that all cultures originated from one [Golden Age] culture. Hyperdiffusionists deny that parallel evolution or independent invention took place to any great extent throughout history, they claim that…all cultures can be traced back to a single culture.”
— Wikipedia

By denouncing, and thus debilitating, any academic study even remotely related to the so-called “hyperdiffusionist” model of history—a model that was widely accepted by scholars of past centuries, who called the Golden Age civilization “Atlantis”—the elite have successfully kept the Universal Religion out of our reach. In doing so they have prevented us from accessing a deep, self-empowering body of wisdom that has the potential to stir a paradigm shift in humanity which would endanger their global hegemony.
The present article relates a single example of hyperdiffusionism in the ancient past. It’s a revealing look at how the ancient culture of the Mayans, a highly-advanced civilization that flourished on the Yucatán Peninsula in southeastern Mexico, is mysteriously similar to a parallel culture on the other side of the globe, the ancient Balinese, who flourished on the tiny island of Bali in Southeast Asia. What you are about to see is evidence of the Universal Religion on both sides of the Pacific Ocean, apparently handed down by the same Golden Age civilization.
Establishment scholars say the Mayans and the Balinese were never in contact, since they were separated by the Pacific Ocean, which these scholars say was impassible by the ancients. Yet these scholars never offer to explain the profound parallels the two cultures shared. Here are 12 examples of these parallels:
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#1 – Stepped Pyramids (With Temples On Top)


BALINESE (LEFT): The Mother Temple of Besakih, or Pura Besakih, is the most important, the largest and holiest pyramidal temple in Bali, Indonesia, and one of a series of Balinese temples. It has stepped terraces, resembling a stepped pyramid.
MAYAN (RIGHT): This stepped pyramid, called the High Priest’s Temple or Ossuary, has four sides with staircases on each side. The sides of the stairways are decorated with interlaced feathered serpents. Pillars associated with this building are in the form of the Toltec feathered serpent and human figures.
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#2 – Twin Dragons / Serpents Balusters Running Down Temple Sides


BALINESE (LEFT): The last stage of Besakih temple is called Stairway to Heaven, and it is made of twin serpent / dragon balustrades that run down the full length of the stairway. At the bottom of the stairway their mouths are open.
MAYAN (RIGHT): The pyramid of El Castillo features plumed serpents that run down the sides of the northern balustrade. At the bottom of the stairway their mouths are open. During the spring and autumn equinoxes, the late afternoon sun strikes off the northwest corner of the pyramid and casts a series of triangular shadows against the northwest balustrade, which creates the illusion of a feathered serpent “crawling” down the pyramid.
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#3 – Sacred Corbel Arch Architecture


BALINESE (LEFT): This corbel arch from a temple complex in Ubud is constructed by offsetting successive courses of stone (or brick) at the springline of the walls so that they project towards the archway’s center from each supporting side, until the courses meet at the apex of the archway. Often, the last gap is bridged with a flat stone.
MAYAN (RIGHT): Notable throughout Maya architecture is the corbel arch, which directs the weight off of the lintel and onto the supporting posts. The corbel vault has no keystone, as European arches do, making the Maya vault appear more like a narrow triangle than an archway. Often, the last gap is bridged with a flat stone.

Renowned 19th century Mayanist Augustus Le Plongeon, who has since been discredited because of his hyperdiffusionist idea that the world’s first cultures were children of a much older civilization named Atlantis, believed that the universality of the corbel arch in Antiquity was strong evidence of hyperdiffusionism:
“…Augustus Le Plongeon, a pioneering Mayanist, renowned for having made the earliest thorough and systematic photographic documentation of archaeological sites in Yucatan…
…for Le Plongeon, the most important evidence of cultural diffusion was the Mayas’ corbelled arch. The arches… he believed, had proportions that related to the “mystic numbers 3.5.7″ which he stated were used by ancient Masonic master builders…Those same proportions, he also noted, were found in tombs in Chaldea and Etruria, in ancient Greek structures and as part of the Great Pyramid in Egypt…

Throughout his writings, including “The Origins of the Egyptians” published posthumously in 1913, he compares modern and ancient Maya and Egyptian ethnography, linguistics, iconography and religious practices…He was basically on the right track methodologically, and he did make a number of intriguing observations and analogies…”
—Lawrence G. Desmond, Augustus Le Plongeon: A Fall From Archaeological Grace
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#4 – Parallel “Fearsome” Deities At Temple Entrances


BALINESE (LEFT): Note the face, right hand, left hand, and left foot. This fearsome looking Balinese deity marks the entrances to Balinese temples. He has a torch in his left hand, huge teeth and fangs, long hair, a beard, and a fearful expression. In the bottom photo you can see his left foot points out to the left while his right hand is close-fisted just below his chest, elbow out—similar to the Mayan photo.
MAYAN (RIGHT): Note the face, right hand, left hand, and left foot. This fearsome looking “howler monkey god” statue marks the entrances to Mayan temples. The howler monkey god was a major deity of the arts—including music—and a patron of the artisans among the Classic Mayas, especially of the scribes and sculptors. He holds a torch in his left hand, has huge teeth, long hair, a beard, and a fearful expression. In the bottom photo you can see his left foot points outward to the left while his right hand is close-fisted just below his chest, elbow out—similar to the Balinese photo.
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#5 – Sculpted Stone Serpents


BALINESE (LEFT): Balinese serpents carved in stone protrude from the sides of temples. The serpent is one of the oldest and most widespread mythological symbols; it represents fertility or the creative life force. As snakes shed their skin through moulting, they are symbols of rebirth, transformation, immortality, and healing. The ouroboros is a symbol of eternity and continual renewal of life.
MAYAN (RIGHT): Mayan serpents carved in stone protrude from the sides of temples. The serpent was a very important social and religious symbol, revered by the Mayans. The shedding of their skin made them a symbol of rebirth and renewal. The chief Mesoamerican god, Quetzalcoatl, was represented as a feathered serpent. The Vision Serpent was also important. During Mayan rituals participants would experience visions in which they communicated with the ancestors or gods. These visions took the form of a giant serpent which served as a gateway to the spirit realm. The ancestor or god who was being contacted was depicted as emerging from the serpent’s mouth.
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#6 – Spiritual Energy Harnessed Through Hand Gestures


BALINESE (LEFT): Notice the yoga-style position of the hands of Acintya (Statuette of Acintya, Bali Museum) the chief deity of the ancient Balinese religion. An important aspect of the ancient worldwide practice of yoga is the subtle but key practice of hand, body and eye postures, to invoke certain flows of energy and create certain states of consciousness, called in India “yoga mudras” or “hand yoga gestures.”
MAYAN (RIGHT): Stela at Copan of king Waxaklahuun Ub’aah K’awiil, believe to have been erected December 5, 711. Note the position of his hands as compared to Acynta. Hand yoga gestures generally work by preventing the dissipation of prana (life-force) from the fingertips. In order to do this, one brings the fingers together in various ways, which helps create certain subtle energy circuits. These circuits then channel prana along particular pathways to affect the mind/body complex in specific ways.
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#7 – Frightening Faces Above Doorways (With Recessed Lintels)


BALINESE (LEFT): Many Balinese temples depict faces of deities—often grotesque or scary visages— above the main doorway. Note how the top of the doorway steps inward in successive steps. In one sense, these were used as apotropaic symbols, having the power to prevent evil or bad luck and to scare away evil spirits. The doorways and windows of buildings were felt to be particularly vulnerable to evil. On churches and castles, gargoyles or other grotesque faces and figures would be carved to frighten away evil and other malign influences.

MAYAN (RIGHT): Many Mayan temples depict faces of deities—often grotesque or scary visages— above the main doorway. Note how the top of the doorway steps inward in successive steps. Some scholars believe these to be masks. The Mayan’s created masks showing the faces of snakes and various animals and these masks were quite common.
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#8 – Twin Elephant Deities


BALINESE (LEFT): An elephant head at the entrance to a Balinese temple. The elephant here may or may not predate the practice of Hinduism on the island. In Hinduism, the most widely worshiped Hindu god deity is Lord Ganesha: The Elephant God. He represents “perfect wisdom” and is considered to be the “remover of obstacles” and “bestower of prosperity.” He combines the natures of the two most intelligent beings—man and elephant.
MAYAN (RIGHT): An elephant head on a Mayan sculpture. Elephant heads are prominent in art and sculpture throughout the ancient Americas. This is a bit of a mystery, since elephants were supposed to have disappeared from America about 10,000 years ago as the Ice Ages waned. Scholars in the past who subscribed to diffusionist theories believed the elephant imagery was created by the Mayans either because they themselves originated in the Old World or because they had seen elephants first hand after traveling there themselves. It is also possible that cultures in the Americas are far more ancient than scholars realize, and stretch back to a time when elephants were still living in the Americas. British surgeon and sinologist. W. Perceval Yetts (1878 – 1957) wrote:
“So far back as 1813 doubts were thrown on the autochthony attributed to Maya culture, and about ten years ago the famous anatomist Professor G. Elliot Smith revived some of the old arguments and fortified them with many ingenious speculations of his own…to prove that a certain motive used in Maya design was derived from the Old World. The motive is well displayed twice on a carved monolith at Copan…and Professor Smith champions the identification of these two forms as heads of elephants, and, above all, as heads of Indian elephants.”
—W. Perceval Yetts, Elephants and Maya Art
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#9 – Monster Temples With Massive “Mouth” Entrances


BALINESE (LEFT): This is the Goa Gajah temple, also called Elephant Cave. On the façade of the cave is an enormous zoomorphic mask with the entrance to the temple as its mouth. Next to this figure in relief are various menacing creatures and demons carved in the rock at the cave entrance. The primary figure was once thought to be an elephant, hence the nickname Elephant Cave. The site is mentioned in the Javanese poem Desawarnana written in 1365. An extensive bathing place on the site was not excavated until the 1950s. These appear to have been built to ward off evil spirits.
MAYAN (RIGHT): Uxmal: Pyramid of the Magician. On the façade of the pyramid entrance is an enormous zoomorphic mask with the entrance to the temple as its mouth. Next to this figure in relief are various menacing creatures and demons carved in the rock at the entrance. Linda Schele (1942 – 1998) an expert in the field of Mayan epigraphy and iconography, wrote:
“The façades of Maya architecture served as a stage front for ritual and carriers of important religious and political symbolism…One of the most impressive techniques was to treat the entire façade as a great monster head with the door as its mouth, as on…the Pyramid of the Magician at Uxmal…People entering such buildings appeared to be walking into the gullet of the monster.”
—Linda Schele, The Iconography of Maya Architectural Façades during the Late Classic Period
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#10 – Chakana Cross Symbols


BALINESE (LEFT): Scholars have mostly ignored this esoteric spiritual symbol that repeats on Balinese stone monuments, here shown on the Bali Pavilion of Taman Mini. But in Andean culture (Incas, pre-Incas) it’s well-known as “Chakana,” which stands for “Inca Cross.” The Chakana symbolizes for Inca mythology what is known in other mythologies as the World Tree (i.e., the Tree of Life). A stepped cross, with three steps on each side, it is made up of an equal-armed cross indicating the cardinal points of the compass and a superimposed square
MAYAN (RIGHT): Chakana symbols similar to those created by the Incas and pre-Incas of the Andes in Peru exist throughout Mayan art and architecture where they held the same religious meaning and served the same spiritual purpose. As in Bali, the Chakana takes the form of a stepped cross, with three steps on each side. It is made up of an equal-armed cross indicating the cardinal points of the compass and a superimposed square.
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#11 – Third Eye Dot Between Eyes On Forehead


BALINESE (LEFT): The Balinese sculpted faces and wood carvings at left display the Third Eye dot in the forehead, symbolic of the ancient “Third Eye” explained in the religions, mythologies and spiritual systems of indigenous cultures around the world. The Third Eye is available to all of us and we can open it and use it to see the “inner soul,” which is who we really re (i.e., we are the soul, not the body). You can learn more about the Third Eye here.
MAYAN (RIGHT): Mayan stone faces at right display the Third Eye dot in the forehead, symbolic of the ancient “Third Eye” explained in the Mayan religion. You can learn more about the Third Eye here.
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#12 – “Triptych” Three-Door Temples—With Accent On Center Door


BALINESE (LEFT): The Triptych three-in-one temple is common throughout Bali, visible on countless temples all over the island. The Triptych pattern relates the central teaching of the indigenous Balinese religion, which is related to the Third Eye. You can learn more about this religion symbolized by the Triptych here.
MAYAN (RIGHT): The Triptych three-in-one temple is common throughout Mexico, visible on countless Mayan, Aztec and other cultural temples all over the Yucatan. The Triptych pattern relates the central teaching of the indigenous Mayan religion, and pre-Columbian religion in general. You can learn more about this religion symbolized by the Triptych here.
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Why Scholars Fail To Study The Parallels

These are 12 major parallels still visible in the ruins of the ancient Balinese and ancient Mayan cultures—twin civilizations that developed on opposite sides of the Pacific Ocean who scholars say were never in contact and who scholars believe developed independently of each other. The parallels shared here point to a far different story than scholars tell. The evidence indicates a much deeper relationship shared by the ancient Balinese and ancient Mayans.
Yet establishment scholars are completely ignoring these parallels, not out of spite or because they are purposely trying to cover something up; but because they are being controlled to do so in a way so subtle that even they themselves aren’t unaware of it.
How?
These scholars—mainstream historians and archaeologists—are fundamentally honest and hard-working people who perform the extraordinarily laborious task of unearthing artifacts from our ancient past. When they say “there’s no mystery in the past” and “hyperdiffusionism is an outdated model of history” it seems clear that they themselves genuinely believe it; they’re not trying to deceive the public in any way.
The problem is that they are locked into a particular paradigm that sees our society as the apex and pinnacle of the human story. They view history as a straightforward evolutionary process that went from primitive cavemen through a gradual development into agriculture and then down into the Greeks, Romans, the Middle Ages, and finally the Enlightenment and beginning of Science, all ending with our highly technological civilization of today, which in their minds is the “supreme” one.
They are 100% locked into this “evolutionary” idea of how history works, and so it’s very difficult for them to accept that deep in the remote past there existed a civilization or Golden Age that was even higher than we are, and that was able to do things that we cannot. This is the lens through which they view reality, and so they dismiss any anomalous evidence or find plausible explanations for any evidence that does not jive with this reality.
Moreover, being a “scholar” or an “academic” is a job, a profession, which is part of a larger structure. If you want to get a job as a “scholar” or “academic” you absolutely need to buy into its mindset; buy into the paradigm. If you don’t buy in then you simply won’t get hired, and you won’t climb the ladder and move up. Thinkers and researchers who might have wilder or different or more extra ordinary ideas of the past are thus weeded out so that the ones who are left are those who have bought into the existing paradigm.
Thus, no scholar dares challenge the “established” model against hyperdiffusionism, that is, if he or she wishes to get published or win research grants or move along in the profession. This is the simple way in which research into the human past is being controlled by forces we can’t see and most of us don’t understand.
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In Conclusion

This is a very brief look at highlights of the parallels common to two ancient civilizations separated by the Pacific ocean. Like a jig-saw puzzle, the missing pieces of these twin cultures separated by the Pacific Ocean can be put together to reveal a common ancestry.
Scholars of the 18th, 19th and early 20th century believed they understood this ancestry. According to their research, in the dimness of remote Antiquity, in an age so prehistoric it is now lost to time and memory, there once existed a spiritually-advanced “Golden Age” civilization which far surpassed our own modern society culturally and spiritually. The world’s first cultures were all children of this Golden Age “Mother Culture,” and we can still see traces of it today in the many similarities shared by those civilizations that we understand to be the world’s first cultures.
The trouble is, if you mention this Golden Age culture to scholars by using the words “hyperdiffusion,” “Atlantis” or “Lost Civilization,” then not only have you lost their ear, but you’ve lost the ear of most people who hinge on every word the academics say (without thinking for themselves). Hyperdiffusionism is bubkis; that’s the academic line, and if you don’t tow it you’re through.
Richard Cassaro is the author of the groundbreaking new book Written In Stone: Decoding The Secret Masonic Religion Hidden In Gothic Cathedrals & World Architecture:



Richard Cassaro is a journalist, speaker and author of "Written In Stone: Decoding The Secret Masonic Religion Hidden In Gothic Cathedrals And World Architecture." The book uncovers a lost Wisdom Tradition that was practiced globally in antiquity, found memorialized in pyramids, Triptychs, and identical images worldwide. The central tenets of this tradition have been perpetuated in Western Secret Societies. The most visible of these is the so-called "Masonic Fraternity," an age-old chivalric Order whose ranks have included Europe's Gothic cathedral builders and America's Founding Fathers. Richard has two websites: www.DeeperTruth.com and www.RichardCassaro.com

15 comments:

  1. If this theory is merely based on sculpture and architecture, it is rather thin evidence. All those designs are natural things that a culture would design. If you want to make a really sturdy tower from which to dominate a landscape, the easiest and best design is a pyramid. The other point is that the doorways and the sculptures are quite different, one blocky and squared and the other lavishly curved. What you need to really make a case is similarities in culture, like music, stories and language.

    From what I've heard, there is no relationship or even a strong similarity between the two cultures, in real terms.

    Ethnic relationship between the two = none
    Religious relationship between the two = none
    Known contacts between the two = none
    Similarities in architecture, art, etc. = minimal at best, and all coincidental when you consider what is involved.

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  2. Unfortunately, you have just made a sweeping statement which shows you have not even examined what was actually being put forth as evidence. A third eye on the forehead above the other two is supposed to be a natural observation? Nossir, that is a religios symbol which originates in India and noplace else. And all of the features mentioned here are traits which have been mentioned here before by other authors including by qualified archareologists and representatives of the Smithsonian institution-on earlier blogs- as indicating contact between the "Hindubuddhist" cultures of Southern Asia and the Mayan area of Mesoamerica. We have been tracking such links on this blog since the popular posting "Pretty Ladies and the Indus Script", and the connections do also include very specific and very peculiar genetic features found in both areas and nowhere else. The evidence does include religious motifs in common, representations of specific gods and their retainers identifiable by their attributes (including Hanuman and Ganesha) and even specific artifacts known to have originated in the orient but were found archaeologically in Mexico. In short, Your statements are simply wrong and they show that you have not been reading any of the material.

    Please notice as well that I have a posted policy that I am under no obligation to publish comments published anonymously and that if I find your replies to become too abusive I shall cease to approve your comments.

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  3. Fascinating. I do not see how can you consider coincidental several of those similarities: snakes at the bottom of the stairs, the position of the left foot in the gods, elephant statues in the mayan temples...

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  4. As I knew he would, Mr Anonymous has tired of trying to reason things out rationally and has resorted to name-calling. Well,Mr. Anonymous can call names all he wants to himself but such childish messages will not be posted here.

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  5. It is an interesting article. Personally, i tend to believe in the existence of prehistoric civilisations in a lesser degree lately. However, i don't dismiss such an idea at all. I haven't done any field search on this subject, but i suppose that these two cultures might have been originated from Mu, not Atlantea. Kerem SAYIN from Turkey.

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  6. The roots for the cultures would run back to Mu (Lemuria=Sundaland) but we do not need to go nearly that far back for the transpacific contact, which is about at the date of ancient Greece or Rome. The ancestors would be earlier but the exchange in this case is well within historical times.

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  7. An interesting post. Inspires me to develop this topic to show how all these are there in South Indian temples.

    The 3 door structures and steps leading to the structure are common scenes in many temples in India, particularly south India. The famous and 2000 years old Vishnu temple (Padmanabha swamy) in Trivandrum has similar entrances.(This temple is mentioned twice in the 2nd century AD Tamil epic called 'Silappadhikaram'). For long staircase leading to the shrine, I would like quote the famous Dwaraka temple. The image can be seen here:-

    http://en.wikipedia.org/wiki/File:Dwarakadhish_gopura_and_swarg-dwar.JPG

    There are other entrances also but they are now sealed by buildings. This kind of 3 door- ways with steps leading to them is common in many temples in South India too, many of them dating back to 3rd to 10th century AD. The boom in temple architecture of that time was taken to Bali and other Indonesian regions during the reigns of Cholan kings who established control over many provinces in South east Asia.

    Coming to the other figures, the elephant figures occur in many styles in South Indian temples, of which one type is shown in the article from Bali and Mayan. This type is found in the front entrance of the structure in such a way that the entire structure modelled as a Chariot or a wagon is pulled by the elephants. To see an example from South Indian temples, see this site :-

    http://www.pbase.com/image/91858149

    The animal faces on the door way are known as "Kirthi mukha" (the face of glory) and can be seen in all temples in Tamilnadu (a south Indian state in India) at the entrance of the sanctum and on the decorative arch above the image of the deity. To give you an example, I am giving the link to the images of the popular deity Lord Srinivasa of Tirupathy. You will find the Kirti mukha at the centre of the arch above the deity.

    https://www.google.com/search?tbm=isch&q=Tirupathi%20Balaji&biw=1366&bih=595&sei=6d24T_L1Ko_orQem5ojlBw

    There is a story in Skanda purana on how this face came into existence. The story and the description of this face have spiritual meanings. All these can be read here.

    http://kirtimukha.com/devilsMask.htm

    and here:-

    http://en.wikipedia.org/wiki/Kirtimukha

    http://www.khandro.net/mysterious_vyali_mukha.htm

    The Central projection is not the third eye, but the spot that all men and women in Hindu fold used to exhibit. It is called as Tilak or Bindi. The wiki articles on them can be read here:-

    http://en.wikipedia.org/wiki/Tilaka

    http://en.wikipedia.org/wiki/Bindi_%28decoration%29

    It has several religious and esoteric meanings. The female in the pictures you have exhibited is a typical Hindu woman sporting the tilak.

    -jayasree saranathan

    (to be continued)

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  8. (continued)

    Now let me tell the antiquity of these by tracing them to Indus sites. The Tilak (mark on the forehead) can be had on top of the forehead at the place of parting of the hairs. A female figurine unearthed in Indus site, has the vermilion mark similar to how Indian wear even today. The figurines can be seen here:-
    http://sites.google.com/site/kalyan97/Home/sindhur.jpg

    The hair style has resemblance to Mehegarh figurines which also show a suggestive use of Tilak. They can be viewed here:-
    http://rolfgross.dreamhosters.com/India-ArchitectureWeb/IndusValley.htm

    You have mentioned the corbel arch architecture in Bali and Mayan.
    Find the similar style in the drain of the Great Bath in Mohenjadaro.

    http://www.mohenjodaro.net/ancientsanitation32.html
    and
    http://www.mohenjodaro.net/greatbathdrain31.html

    Similar style with Kirti mukha (animal faces) can be seen in several temple -mantaps (corridor). A sample pic can be seen in Ranganatha swamy temple in Rameswaram. The link is here:-

    http://www.google.com/imgres?hl=en&biw=1366&bih=595&tbm=isch&tbnid=rAJaCBix7OcDXM:&imgrefurl=http://tourpackageindia.in/countrydetails.asp%3Fpage%3DSouth%2520India%2520Temple&docid=QwffVcCqpmP7mM&imgurl=http://sojournsouthindia.com/images/rameshwaram.jpg&w=640&h=427&ei=E-u4T9-4C4rSrQfblKjzBw&zoom=1&iact=hc&vpx=664&vpy=299&dur=0&hovh=183&hovw=275&tx=139&ty=106&sig=103618981565668636045&page=1&tbnh=110&tbnw=147&start=0&ndsp=24&ved=1t:429,r:12,s:0,i:98

    So what do we infer from this?
    From this and from many other sources found in India, I would say that a specific model of architecture was in existence in India which was learned by people from across the globe who took it to their places. Or the architects of a specific school of building type had travelled around the world - presumably at the request of rulers of those places or they were called and paid for their services by people of different regions. You have depicted a map in one of your earlier posts on the similarity of Mayan architecture across the globe. That shows the travel of building technology rather than the people themselves. On Balinese, I can vouchsafe that Cholan kings were the movers behind the transfer of temple architecture as there are ample inscriptional proof to say that they built temples in many South Asian countries that they had conquered.

    -Jayasree

    (to be continued)

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  9. (continued)

    On the Mayas, the discourse is too long that I would rather write it in my blog and send the link to you. To give a nutshell of their connection to architecture in India, there lived one Maya who was rescued form a forest fire by Arjuna and Krishna, as a return for which Maya built a palace with a step well inside it for Arjuna. The location was near Delhi. The same architecture described in Mahabharatha attributed to Maya is seen in the Great Bath of Mohenjadaro. This Maya had his people living in present-day Nagaland and he has frequented places near Mount Kailash from where he collected precious stones (according to Mahabharatha). The Kekichi Maya claim Naga (in India) origins to themselves.

    This Maya has authored a book on architecture (Vaastu principle)called "Mayamatha" which is still in use in India. Maya is also known for exquisite furniture and vehicles. There is literary evidence in Tamil texts saying 3 such objects made by later day architects following the rules of Maya were usurped by a Cholan king called Karikala from the kings of North India who owned them. This king's period was 1st century AD.

    Lastly, there is no scope to link Atlantis with Balinese environs. As you have written in an earlier post, Atlantis can be located in the Atlantic ocean where an undersea fissure had occurred long ago. Once again I can quote a source from Hindu texts, namely Surya Siddhantha - a text on astronomy cum astrology which was given by Maya of Romaka desa (country of Romaka). The location of this country is given in the text itself. It is 90 degrees to the west of Lanka (Srilanka) near the equator. This roughly tallies with sunken Atlantis. The period is 10,000 years before present. The astrological views of this Maya have traces in western astrology making us infer that from Atlantis, the survivors had moved to West Europe and continued their culture and remnant knowledge of Mayan astrology.

    May be I will write all these into an article and send you the link.

    - Jayasree Saranathan

    ReplyDelete
  10. Dear Mr Dale,

    Thanks for posting my comments. It seems the first part of the 3-part comment did not reach you. I am re-posting it here:-

    An interesting post. Inspires me to develop this topic to show how all these are there in South Indian temples.
    The 3 door structures and steps leading to the structure are common scenes in many temples in India, particularly south India. The famous and 2000 years old Vishnu temple (Padmanabha swamy) in Trivandrum has similar entrances.(This temple is mentioned twice in the 2nd century AD Tamil epic called 'Silappadhikaram'). For long staircase leading to the shrine, I would like quote the famous Dwaraka temple. The image can be seen here:-
    http://en.wikipedia.org/wiki/File:Dwarakadhish_gopura_and_swarg-dwar.JPG
    There are other entrances also but they are now sealed by buildings. This kind of 3 door- ways with steps leading to them is common in many temples in South India too, many of them dating back to 3rd to 10th century AD. The boom in temple architecture of that time was taken to Bali and other Indonesian regions during the reigns of Cholan kings who established control over many provinces in South east Asia.

    Coming to the other figures, the elephant figures occur in many styles in South Indian temples, of which one type is shown in the article from Bali and Mayan. This type is found in the front entrance of the structure in such a way that the entire structure modelled as a Chariot or a wagon is pulled by the elephants. To see an example from South Indian temples, see this site :-
    http://www.pbase.com/image/91858149

    The animal faces on the door way are known as "Kirthi mukha" (the face of glory) and can be seen in all temples in Tamilnadu (a south Indian state in India) at the entrance of the sanctum and on the decorative arch above the image of the deity. To give you an example, I am giving the link to the images of the popular deity Lord Srinivasa of Tirupathy. You will find the Kirti mukha at the centre of the arch above the deity.

    https://www.google.com/search?tbm=isch&q=Tirupathi%20Balaji&biw=1366&bih=595&sei=6d24T_L1Ko_orQem5ojlBw
    There is a story in Skanda purana on how this face came into existence. The story and the description of this face have spiritual meanings. All these can be read here.
    http://kirtimukha.com/devilsMask.htm

    and here:-

    http://en.wikipedia.org/wiki/Kirtimukha

    http://www.khandro.net/mysterious_vyali_mukha.htm

    The Central projection is not the third eye, but the spot that all men and women in Hindu fold used to exhibit. It is called as Tilak or Bindi. The wiki articles on them can be read here:-

    http://en.wikipedia.org/wiki/Tilaka
    http://en.wikipedia.org/wiki/Bindi_%28decoration%29

    It has several religious and esoteric meanings. The female in the pictures you have exhibited is a typical Hindu woman sporting the tilak.

    - Jayasree

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  11. I am wondering how much art history you have studied?

    Balinese architecture clearly derives from Indian architecture via the ancient Hindu realms of java and sumatra and some of the features you think are similar to mayan well are probably due to the Balinese and Mayans sculptors having similar levels of tehcnology also I dont think pyramids date back to whatever ancient culture is the source of the lost realms story ... there just seems to be a phase most cultures go thru of building either mounds or pyramids IF STONE is AVAILABLE.

    The Mayan "Elephant" could just as easily be a very stylised mastodon or tapir?

    In my observations of several traditions the older an animal was been extinct the more likely depictions of it will become increasing stylized and unreal hence the strange transmutation of rhinos into unicorns the last surviving neanderthals into woodwooses and ogres.

    Finally I wish people would stop presuming Atlantis was a Golden Age.

    What if they were megalomanic tyrants?

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  12. JeeVee: Are you addressing me, or the author of the article I have reprinted here, or perhaps Jayasree or even Mr. Anonymous? You are going to have to make that more clear before you shall recieve an answer. And Atlantis WAS supposed to be a dangerous aggressor nation in the Platonic dialogues, they had FALLEN from a prior "Golden Age". I take this to be a reference to a former agrariian age of plenty which collapsed when the climate worsened, leaving the Atlanteans no further recourse than to seek to take over other territories abroad. And we are not talking "Atlantis" on this occasion, we are talking an early INDIA as a source. Perhaps it would be clearer if you did take the time to separate out what I am saying or what Jayasree is saying from what the author of the article is saying. Because we are eall separate people.

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  13. i was "addressing" all of you

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  14. Then I am afraid you are very much mistaken. The article is plainly credited to Richard Cassaro and he alone is responsible for the content of the original article. When you say you were addressing all of us when I had not even voiced my own particular opinion on the matter, you are guilty of overgeneralization and of misplacing the responsibility upon others that you wished to be the ones at fault. You have made a prejudicial statement based on a very fallacious way of thinking, and offered me personal insult for the opinion expressed by another. Surely you realise that the standard situation is that the host of a statement such as this made as a guest blog by another is not to be held accountable for the content or opinion expressed? Now it does not matter whether my opinion coincides with Richard Cassaro or not, or Jayasree's or not, you are in error to offer the blanket criticism "the whole lot of you are nuts" simply because you wish to criticise Cassaro's article, the one actually in question here.

    Any more of this inappropriate scattergun criticism ove everything and anything just because you don't like a guest blog posting on my blog and your postings will NOT be welcome here.

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  15. Well, I for one am very grateful for all that goes on here! I learn so many fascinating things! This post is actually a fine example of that. I've been following Jayasree's links and learning even more. I feel it is a bit advanced for me too, though, but that is fine as it gives me so much info to work with and navigate. Thanks a billion Dale!!

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