Nabta Playa: Mapping distances to other galaxies?

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So far we have looked at two of the three layers for just one of the megalithic structure at Nabta Playa.  (Yes, there are more of these mysterious formations in the area–thirty, in fact.)

We have looked at the stone circle–the stone calendar on the top layer– and at a sculpture that may show the declination (movement) of the Galactic Center over the precessional cycle of 26,000 years.

The third and last layer is even more intriguing as it seems to be a map of our Galaxy.

Similar to the Sphinx at Giza, this is a bedrock sculpture–it is carved into the bedrock and, therefore, is not a separate piece of stone that could have been moved from elsewhere.

This bedrock sculpture is a stone disk and Thomas Brophy tells us there is another stone disk that could also represent the Milky Way–this one at Newgrange in Ireland.  (I could find no other reference to this.)

Here is the intriguing part:

The map of the galaxy is not from the perspective of earth.  It is from the perspective of a point in the heavens we have labeled the north galactic pole.  That point is not arbitrary. It is one designation in the galactic coordinate system which Wikipedia defines as, “a celestial coordinate system … with the Sun as its center, the primary direction aligned with the approximate center of the Milky Way galaxy, and the fundamental plane approximately in the galactic plane.” In other words, it is a system based on logic and it would be reasonable for anyone with knowledge of the galaxy to invent it and to use it.

While much of what is depicted on the Nabta Playa galaxy map could be observed with naked-eye astronomy, there are pieces that could not.  For instance the Sagittarius Dwarf Galaxy was not discovered until 1994. And that galaxy, it seems, is where our solar system comes from. Literally.

 

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Picture from http://www.solstation.com/x-objects/sag-deg.htm (original source unknown.)

 

And it is not just that our galaxy  and the entering Sagittarius Dwarf Galaxy are depicted, but all the features on the bedrock sculpture are depicted to scale.  Much like the monoliths on the top layer that align to the rising stars of Orion. (Their distances from center are proportional to their distances from earth.)

There is more:

The formation we have been discussing, “Complex Structure A” or CSA, is but one formation on the Nabta Playa.

“Complex Structure B” (CSB)  has also been excavated and there is a bedrock sculpture under that one, too. It has an uncanny resemblance to our nearest neighbor, the Andromeda Galaxy.  And the distance from CSA to CSB is proportional to the distance from our Galaxy to the Andromeda Galaxy.

Each of the thirty structures on the Nabta Playa seems to have its own bedrock. Hopefully one day our ground penetrating radar satellite technology will be good enough to tell us whether these, too, are sculptures and, if so, what they depict. Other Galaxies?

 

References:

Brophy, Thomas G. (2002). The Origin Map: Discovery of Prehistoric, Megalithic, Astrophysical Map and Sculpture of the Universe. Lincoln, NE: Writers Club Press. (This one is very technical.)

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Bauval, Robert & Brophy, PhD, Thomas (2011). Black Genesis: The Prehistoric Origins of Ancient Egypt.  Rochester, VT: Bear & Company.  (This one is easier to read.)

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Nabta Playa: Another pointer to the Galactic Center?

Unknown.jpegPicture credit: Robert Bauval via RedIcecreations.com

How do you write about something that nobody seems to really know much about–other than that it exists?

This megalith was found under 7 meters (about 23 feet) of sediment at the Nabta Playa site.

Lifting-a-table-rock-from-one-of-the-pits.jpghttp://www.ancient-origins.net/ancient-places-africa/religion-sacrifice-and-mystery-table-rocks-nabta-playa-002955

 

One might be tempted to date the sculpture by the layer of sediment in which it was found, but we do know of instances where sacred sites were intentionally buried–Gobekli Tepe, for instance. This one may be no different.

So what does this block of stone represent? I am not sure we even know. But there are some good guesses:

The most popular explanation is that it is a cow sculpture. Indeed there are cow burials in the immediate area and we do know that cow-worship was popular during the Age of Taurus (approximately 4300 to 2100 BCE).  But that is a bit late based on our confirmed dates for the top layer of this site. However, it is believed that cow-cults grew out of pre-dynastic fertility practices possibly from Nabta Playa and surrounding areas. So there may be a connection here.

When we think of cow-worship, fertility and cow-goddesses, Hathor comes to mind. The Egyptian goddess of love, fertility, beauty and joy, she is often depicted with cow horns on her head or even as a cow herself.

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1 Drawn by Faucher-Gudin, from a bronze statuette of Saïte period in the Gîzeh Museum (Mariette, Album photographique du musée de Boulaq, pl. 5, No. 167).

 

There is another connection to cow-worship: The Big Dipper was considered to be a Bull’s Thigh in ancient Egypt. And the stone circle discussed last installment has alignments to the Big Dipper, so it is likely this association was also important to these ancient people.

I cannot help but think also of the Tarot Key, the Fool who carries memories in his pesky purse. The Hebrew letter assigned to this Key is Aleph and Aleph means “Ox.”

k00.gifBOTA.org

 

But the most intriguing theory is this:

_V_A6Gf9jTRRviEleGkaillHN0IyMDgpjE1ZG5yB_eg.pngPicture credit: Brophy, Thomas G. (2002).  The Origin Map. Lincoln, NE: Writers Club Press. (P. 60)

(The declination depicted is the path (motion) of the Galactic Center over the 26,000 Precessional cycle.)

Now turn the cow sculpture around in your mind and compare it to the drawing above.

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So, if this sculpture is meant to represent the path of the Galactic Center over the Precessional cycle, what is the protrusion on the left (right if the sculpture is viewed from the back)? It must mean something and perhaps it does because it points to the direction from which we came–the Galactic center–at the venal equinox sunrise in 17,700 BCE.

Remember Gobekli Tepe Pillar 43 also targets to the Galactic Center (but at the winter solstice in our own time.)

And we will see that the bedrock sculpture under the “cow” also points to the Galactic Center in 17,700 BCE, re-inforcing the notion that this alignment is not a coincidence.   But more on that next time.

References:

Brophy, Thomas G. (2002). The Origin Map: Discovery of Prehistoric, Megalithic, Astrophysical Map and Sculpture of the Universe. Lincoln, NE: Writers Club Press. (This one is very technical.)

51bRjpitQhL-1._SX341_BO1,204,203,200_.jpg

Bauval, Robert & Brophy, PhD, Thomas (2011). Black Genesis: The Prehistoric Origins of Ancient Egypt.  Rochester, VT: Bear & Company.  (This one is easier to read.)

51C+81sRd+L._SX331_BO1,204,203,200_.jpg

 

 

Nabta Playa: Mapping distances to the stars?

 

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Doesn’t look like much–maybe a bunch of ancient children were playing with stones. But it turns out to be a three layer representation of the cosmos–a stone calendar circle on top, an enigmatic “cow sculpture” buried in the sediments below that, and then a bedrock sculpture that is nothing less than a representation of our universe.

But let’s start with the top and least controversial layer–the stone circle. (More on the lower layers later.) Yet again, alignments can tell us a lot about dating. Here we have Orion’s Belt depicted as it was from 6400 BCE to about 4940 BCE.

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https://groups.yahoo.com/neo/groups/Ancient-Mysteries/conversations/messages/2916

Radio carbon dating agrees with these astronomical dates, so we can be confident about them.

To put these dates in context, this is the time of pre-pre-dynastic and pre-dynastic Egypt (5500-2700 BCE). About 500 miles or 805 kilometers to the north, Egypt was 1800-3300 years away from the first documented Pharaoh.  Robert Schoch conservatively dates the Sphinx enclosure to this time. And remember there is evidence that the bases on which the dynastic Egyptian pyramids were later constructed may have been mapped out in the figure of Orion’s belt by this time.

Due to Precession of the equinoxes, our view of how the constellation of Orion rises in the night sky shifts–the angle changes.  Here is a picture of how Orion looked in 16,500 BCE as mapped out in the stone circle.

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https://groups.yahoo.com/neo/groups/Ancient-Mysteries/conversations/messages/2916

So both extremes of Orion’s “tilt” are recorded at this site. Of course, one wonders how these primitive people knew this–someone must have studied and mapped this particular constellation at this site for 11,600 years. Longer, in fact, to know both extremes.

But there is one correlations that is, well, even more surprising.

nabta_uc_big.jpghttp://www.ancient-wisdom.com/egyptnabta.htm

There are “long baseline megalithic sight-lines” that also align to the main stars of Orion. The strange thing about these megaliths is that they appear arbitrary–there is no symmetry to them. They appear awkward in their placement. Until one measures the distances from the circle to these stones, as Thomas Brophy did.

The distances to the site-line stones correlate to the distance from the Earth to the star represented on a scale of 1 meter = 0.799 light years. Not only that, but the velocities of the star systems are also recorded.  A million years of naked-eye observation would never tell you that.

For the source, go to:

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And, finally, there is a YouTube for that:

Book of Knowings: Autumn Equinox in the Time of Our Ancestors

 

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She sat staring at the flame, as had her mother before her, and her grandmother, and their mothers and grandmothers for countless generations before them. She allowed her eyes to grow softer and then she saw it, the dark tunnel that brought the Visions. Snippets, the vision always came in snippets and this one was no different:

The woman sat in the boat, her belly growing fuller like the waxing moon. They needed to find land before the baby came. The coracle, the small leather-bound boat, was too small for even the two of them, and the idea of giving birth there was intolerable. Yet, it might be so.

They sat shrouded in the mighty waves of fog rolling past them. Through it they saw nothing but more endless waves of fog. No sky, no land. Where they were, they new not.

She dipped her hand in the salty water, so unnaturally calm. The vast ocean, it seemed, had fallen into a dark slumber.

Crouched between the legs of her Druid Priest who sat on the narrow seat behind her, she felt him gently stroke her head. “This fog will not last forever,” he assured her as she drifted off to sleep.

Her uneasy dreams were of her mother’s sister, Boudicca, slain in battle and of the sacrifice–three fold death her brother had willingly undertaken. He gave his life for the people, but it did not stop the invaders and so, as the last remaining woman of the sacred bloodline, she and her companion had taken to the road.

The Romans had been relentless to her people, but it was her they were after for she carried the next High Priestess in her body. Of that they and she were sure. The omens had told them so.

Her dreams turned to their flight across the British countryside, their pounding ride on the back of a horse, their escape into tunnels and caves, hiding, always hiding.

They had intended to find a sturdier boat when they cast off in the coracle barely an hour ahead of their pursuers, but high winds and violent seas tossed them further and further away from the shore. Until there was no return.

Her companion read the stars then, and they had used their one blanket as a sail when they tired of paddling.  They followed the ice flows and journeyed west toward the land they called “the Refuge of the Setting Sun.”

The rains had been good and they had collected the water, abundant enough this time of the year. But the dried meat had given out long ago and so they fished for what they needed. It was not pleasant eating the raw flesh and she hated watching as her companion killed the fish and scraped their scales back into the sea. But that was the way of the Mother—to give and take life when needed so that the next generation might live.

How long she slept she did not know, but the baby kicked and then she felt her priest, her companion stir.

“The stars are out,” he told her. “Look, it is the Hunter. See his belt and his blue dog star?” He pointed off in the distance. “That way. Can you paddle?”

“I can,” she said reaching for her oar. “Have we drifted too far back to the east?”

“I do not think so, but how far south we have gone, I do not know. Here, take the seat, I will kneel as we paddle.”

The waves picked up then, working with them now. They pulled on through the night and into the morning before her companion called a halt and pointed once again. “Do you see it?”

She strained her eyes and saw a dark patch on the horizon. Land she hoped and they pulled at their paddles once again, this time not caring that the pain of exertion tore at their shoulders and backs.

When she saw there were trees, she almost cried for the joy of it. But when she saw the waves crashing on the rocks, she grew anxious again. To wreck the boat now could spell their doom— even if their bodies survived, they needed the coracle to shelter them through the coming winter. Upturned it would be a secure roof over whatever they could fashion for a shelter.

“What do you foresee, my lady?”

She settled into her self and sent her senses out. “An island I think. It will be calmer on the other side. Follow the shore line. It will not be long now.”

“And the people Boudicca spoke of?”

“There will be a sign there, I think. An inscription in the rocks.” She opened her eyes and saw the sun was past its zenith. She prayed they would sleep on solid ground that night.

The sun had not yet set when they spotted a narrow channel leading to the far side of the island. The tide was with them and they came to a narrow beach. Her companion eased himself over the side and found footing. He guided the boat onto the pebble strewn shore and safety.

When she stepped from the boat, her legs threatened to buckle beneath her. How many months had it been since she had stood? It took a moment to catch her balance again. But when she did, she looked to the west across the narrow channel and saw land that was vast and fertile.

She boldly faced that land and, palms together, she pushed them forward and out from her forehead and then swept them apart. “I open my eyes, seen and unseen, to you, Great Mother. Welcome us.” Then she repeated the gesture at her chest, “I open my being you Great Mother. Protect us.” Finally, she repeated the gesture at her womb, “I bring this new life to you, Great Mother. Open the way for us.”

Then she turned and faced the direction from which they had come and repeated her small ritual, but in silence this time. When she had finished, she held her hands at her heart, “May we remember our past, may the old ways be preserved, may the knowledge pass down through our children until it is time to bring it into the world again.”

The last rays of the sun sank below the horizon. She turned to see her companion working his way down the shore gathering driftwood for a fire, one that would be welcome after so many cold nights in the boat.

Out of his earshot now, she raised her arms to the sky in celebration and sang the Mother’s name, the secret name that was tens of thousands of years old, the name only the priestesses knew. The name she would one day teach her daughter. 

Back to Pillar 43: Those pesky purses

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The celestial markings on Pillar 43 at Göbekli Tepe are indeed intriguing, but there is more: Those pesky purses decorating the top of the pillar.

In his book Magicians of the Gods,  Graham Hancock points these out along with similar purses or containers from Mesopotamia and  Mexico.

This one from Mexico is called the “Man in the Serpent”:

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And these beings are Sumerian Apkallu:

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In both examples look at the shape of the purses and at how they are held –are they too similar to be coincidence?

We don’t seem to know who the Man in the Serpent represents–at least I could not find anything in the web–but the three figures, the Apkallu, are the three forms (man, bird and fish) taken by the the Seven Sages who brought the civilizing arts to Sumer after the great flood. The most famous is Oannes, the fish-god on the right, who came from the sea each day to teach wisdom, writing, the arts and sciences. (The link above has more images of the Apkallu with their purses, or as the archeologists call them, “buckets.”)

The story of gods or demigods who brought civilizing skills to more primitive people (thus jump-starting more advanced civilizations) is a common one. We see it across the globe, most often associated with a flood or deluge that almost wiped out life on the planet. So I did a search. Most of the civilizing gods we know, Thoth who became Hermes, Osiris, Rama from India, Virachoca, and Kulkulkan both from South America, do not carry purses.  But I found two others who did.

This is Quetzalcoatl from the Codex Rois:

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And this is the early Mayan god, Itzamna:

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So what’s with those pesky purses anyway?

I believe the key (pun intended) to understanding the meaning of the purses comes from the  Book of Thoth which we know today as the Tarot.  Now used primarily as a fortune telling devise, it’s original purpose was to encode ancient teachings in pictures and symbols.  This is the “Fool” (Key 0) from the Rider-Waite deck:

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According to esoteric tradition, what The Fool carries in his purse is memory, in this case cosmic or universal memory as he steps from Kether, the Beginning (or Crown), to Chokmah, which represents Wisdom, on his journey down the Qabalistic Tree of Life. If you are not familiar with the Qabalah, don’t spend a lot of time working that out–the point is the Fool is just beginning a long journey and he is taking the memory of his past with him. Much like the sages of old who brought civilizing skills to the hunter-gatherer peoples in Mesopotamia, Egypt, the Americas, and other parts of the world.

So one way to see the purse is as the container for the wisdom and knowledge of the lost civilization. Trunks of manuscripts come to mind, and lost halls of records under pyramids, but also technology like the Ark of the Covenant, or even Arks that are boats carrying people away from lands sunken by the great deluge. They all contain the memory in one form or another.

And let us not forget the beings themselves for they, too, are containers of that knowledge. The seven sages of Mesopotamia, the seven sages on the Edfu texts, all the civilizing “gods” fit this description.

And in the case of Pillar 43, it is a container of knowledge. As is all of Göbekli Tepe. Designed, perhaps, by one of the original Apkulla, Göbekli Tepe preserves the ancient wisdom for a time when we have “eyes to see.”

And finally, as I was pounding away on the treadmill this morning, I had one other thought: The memory is also contained in what Jung termed the Collective Unconscious, and that, too, is a sort of purse or container of wisdom. One we have access to today.

So my search for these ancient purses continues–are there perhaps other clues out there?  Please comment if you know of any.

 

Photo credits: Pillar 43,  Man in Serpent, ApkalluQuetzalcoatlItzamna