The Atlantean Symbolism of the Egyptian Temple - 2. Atlantis

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    Solomon's temple followed the general plan of the ancient temples described above. In the front there was the monumental gate giving access to the vestibule (or introitum). This, in turn, led to the temenos or court, built as a sort of hall. Next, at the bottom, we had the holy of holies with the square plan characteristic of the Holy Mountain. This inner sanctum was closed by a curtain, and access to it was denied to all but the high priest.3

    An interesting description of the ideal temple of the Hebrews is the one of Ezekiel (ch. 40-46). This account closely parallels that of Revelation concerning the Celestial Jerusalem (ch. 21). And these, in turn, are copied from the Hindu ones concerning Paradise ("Pure Land"), as illustrated in the so-called Kalachakra mandalas. Ezekiel's ideal temple, like the Celestial Jerusalem, was edified "upon a very high mountain" that is obviously the same as the Mt. Meru of Hindu traditions.

    There was, at the top of the Holy Mountain, just as in the Hindu traditions concerning Lanka, a holy city (the Celestial Jerusalem). This city or temple the text is obscure and confuses the two was "surrounded by a wall round about". This wall was square and was aligned with the Cardinal Directions, having a gate on each of its four sides. It delimited a court paved with stone on which were built thirty chapels and an inner court, on the south side.

    The adytum (temple proper) was square and had two pillars in front, each 6 cubits (about 3 meters) broad. The temple was of enormous size (500 canes (or 1600 meters) on a side), being square in plan (probably cubical or pyramidal). It was surrounded all around by a wall that isolated it from the court destined to the public. The inner sanctum was decorated with palm-trees and cherubs, motifs that are allegedly of Mesopotamian derivation, but which ultimately originated in Hinduism. All in all, Ezekiel's ideal temple closely evokes Zozer's pyramidal complex and, better yet, its archetypes from Malasia, which it closely parallels. When one carefully compares the underlying symbolism of these strutuctures from different corners of the world, their unity of shape, conception and purpose becomes self-evident.

    The Temple as an Allegory of Paradise

    The city-temple just described is indeed an allegory of Paradise. More exactly, it represents Lanka, the Celestial Jerusalem that was the archetype of its biblical counterpart. In Ezekiel, the "lofty Mountain" that corresponds to Mt. Atlas (or Meru) is called Ariel (or Harel = "Mountain of God"), and is identified with the sacrificial altar (ara). This Sacrificial Mountain is, as usual, an allegory of Mt. Meru (or Atlas), where the Primordial Sacrifice that of Atlantis (or Paradise) was performed in the dawn of times.

    In front of Solomon's temple stood the two huge pillars of bronze called Jachin and Boaz. These two pillars closely evoke the two "Pillars of Hercules" that were the central feature of the Phoenician temples of Baal Melkart. Baal Melkart, "the Lord of the City", was the alias and archetype of both Hercules and Atlas, the two deities commemorated by the twin pillars of the Phoenician temples. These twin pillars indeed commemorated, as they did in Gibraltar, the strait that led into Paradise. The Pillars of Gibraltar were just a replica of the primordial ones of Eden (Eden = India or, rather, Indonesia, the "Indian Islands"), just like so many the Phoenicians posted in the temples they built at all such crucial passageways to honor Hercules (Baal Melkart), their supreme lord and patron of navigants.

    The two pillars also correspond to the twin obelisks invariably posted at the front of Egyptian temples. The inner sanctum of the Temple was a cube of about 9 meters on each side. This structure evokes the Kaaba of Meccah, whose name and shape are those of a cube. But, as usual, the cubic structure is just a variant of the similarly shaped pyramid.4

    The fancy capitals of the pillars Jachin and Boaz were all decked with lilyworks and pomegranates, in the traditional way used for both the Tree of Life and the omphali found all over the Mediterranean Basin. The "lilyworks" are really lotus motifs, as many experts have recognized. This type of decoration, very much used in Egypt, ultimately derives from the Indies, as we discuss elsewhere.

    Such "lilyworks" invariably figure on top the Indian stupas, which are the true archetypes of omphali and decorated pillars everywhere. And they indeed represent Mt. Meru submerged under the seas, with reeds and sargassos attached to it. Alternatively and that amounts to the same they symbolize the stump of the Tree of Life with its dual, the Tree of Death, growing down from its top. The motif is famous in India, as we discuss elsewhere.

    The Riddle of Cedar Wood

    The interior of the holy of holies was all lined with cedar wood imported from Ophir by Hiram and his men. Cedar, was an exclusivity of the Indies in antiquity, and had to be imported from there by both the Hebrews and Mesopotamians, as well as by the Egyptians, who loved its wood.

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