Arysio Nunes dos Santos
Where did you come out
from my Children?
From yonder, where the Whirling Mountain stands.
Navajo Shooting Chant
The Navajos are the most populous of all surviving
Indian nations in the USA.
They comprise about 100,000 individuals,
and inhabit New Mexico, Arizona and Utah. The Navajo Indians are
close of kin to the Apaches and were, as these, deeply influenced by
the more civilized, agrarian Pueblo Indians. Under this influence,
the Navajos adopted a sedentary existence, based on agriculture and,
later, in the herding of goats, sheep and cattle.
The Pueblo Indians instructed the Navajos and the
Apaches not only in agriculture, but also in the arts, crafts and
religion. Navajo pottery and their famous rugs derive their design
from that of the Pueblos. So do their silver smithing and, above
all, their remarkable sand paintings, which we will be discussing in
In the present chapter we analyze, to a certain detail, one of the
main myths of the Navajo Indians, that of the Twins. We show its
unequivocal connection with certain myths of the Old World,
particularly those of India and Indonesia. Moreover, we interpret
this myth in detail, showing that it is indeed an allegorical
exposition of the myth of Paradise and its secret whereabouts. This
Paradise is no other thing than Eden or Atlantis, the original
homeland of Mankind and Civilization, as will become clear from the
We are of the opinion - after having researched the matter for quite
along time now - that the real reason behind the theory that holds
the autochthonism of the Amerinds was, and perhaps
still is, part of a concerted effort to deny them their humanity and
the divine origin that the whites claim for themselves. With this
the Conquistadores and the Bandeirantes - as well as their
counterparts elsewhere - were justified in plundering the land and
the possessions of the natives, as they did, and in enslaving them.
So, while the white missionaries thumped the
Bible, attempting to convert the Amerinds
forcefully, with the menace of all too real bonfires, they
opened the way for the soldier and the colonists who would rob the
natives of everything, inclusive their very humanity.
this missionary and civilizatory influence would not be
needed if the natives partook of the very same Tradition, the
Primordial Religion and culture that came to us from Paradise,
brought by the
angels themselves, in the dawn of times.
modern anthropologists who cling to this view are but the legitimate
heirs of this ancient tradition, which they defend irrationally,
despite all sorts of compelling contrary evidence.
The Religion of the Navajos
The Navajo religious system is intricate. Like most Amerindian
nations, they claim to have come from a subterranean world through
caves or vents that connect with this upper world. Theirs is a
Mystery Religion based on Drug Cults (Peyotism), on shamanism, and
on amuletic songs, dances, design and rituals.
But the idea of a subterranean Creation - one in which Mankind somehow
originated underground and later ascended to this earth in some
manner - is peculiar not only to the Navajos,
but to most Indian nations of the three Americas. As a matter of
fact, this conception of a subterranean Paradise whence Mankind
sprung into the present era coming from a former one was also
widespread in the Ancient World as well. For instance, Civilizing
Heroes such as Osiris, Serapis,
and several others originally rose from a cave or a subterranean
abode, more or less in the way that Christ too rose from among the
This cave or tomb is the Primordial Cave, the Cave of Archetypes of
which Plato tells us in his dialogues. It is the Pacari-tambu
of the Incas, and the Cave of Illusion so masterfully described in
the Ramayana. In fact, this cave is no other than the sunken,
submarine realm of Atlantis-Eden. Again, the
Polynesians also claim to have come originally from a sunken island
or continent which they called by names such as Hawaiki (or
Javaiki), which mean something like "Sunken Grove", that is,
the same as the sunken Garden of Eden.
And, as we argue elsewhere,
the Polynesian Paradise, just as all others indeed lay in the
submerged portion of primordial Indonesia.
The Dual Creations
Throughout the whole world, traditions tell of two basic types of
Creation Myths. In one, the Ancestors fall down from Heaven
above, and civilize the semi-bestial humans, with whom they breed
the new humanity. In the other, as with the Amerinds, the Ancestors
come from the Netherworld, and effect what amounts to a second
Creation which is in all respects the dual of the former one.
This dual Creation and, indeed, Dualism in general, derives from
Hinduism and seems to form the base and essence of the Urreligion
("Primordial Religion") postulated by certain anthropologists of
note. We encounter this Dual Creation even in the Book of Genesis.
There, the first Creation - attributed to Elohim - is told in
chapter 1 of that book, whereas the second one, attributed to
Jahveh, is narrated in chapter 2, as the reader can verify for
The language in both passages is (purposefully) obscure, but is
The god of Gen.1, Elohim is
clearly Celestial. But the one of Gen.2, Jahveh,
starts his Creation from below, as "the mist that came up from
under the earth". In other words, the spirit ("mist") of God ascends
from below, together with the subterranean waters and, certainly,
followed by his hosts (or people), much in the manner of the
In several Cosmogonies, we have the so called "Earth-Diver" fetching
the earth from under the seas, in contrast to the Fallen Sun that
drops from the skies down to earth, as an avatar of the Celestial
God. The archetype of the Earth Diver is Vishnu, in
his Boar avatar (Varaha). The one of the Fallen Sun is, again,
derived from a Hindu archetype; that of Vishvasvat,
the Sun, and his many aliases. Both of these Cosmogonic motifs date
from Vedic times in India, and there can be no question of Hindu
As we said above, the Navajos learnt their Mystery Religion
from Pueblo Indians such as the Zuñi of New Mexico.
The Zuñi in turn relate to the Aztecs and the Mayas of Mexico, whose
advanced civilization is well-known.
This diffusion of civilization
can be traced further back to the Incas of Peru and, across the
Pacific Ocean, all the way to Indonesia and to India.
The Pueblos and the Architecture of Çatal Huyuk
It is sufficient to compare the unique pueblo constructions of
the Pueblo Indians with those of Çatal Huyuk,
in Anatolia, or those of
Harappa and Mohenjo-daro, to conclude that
they were undoubtedly built (or designed) by the one and same people
(see Fig.1 below). The pueblos are, like their Old World
counterparts, a sort of human "beehive" in which the individual
apartments form "cells" destitute of doors and windows.
The only access is through the roof, by means of a manhole and ladder.
In case of attack, the ladders could be withdrawn, and the "city"
became an impregnable fortress. Çatal Huyuk has been
dated at 9,000 years ago, and is one of the oldest known cities.
Burial methods, the advanced agriculture, bull-worship and the cult
of the Great Mother, and several other similarities further testify
to an ancient connection among these distant sites.
Indeed, the sun-dried mud bricks - fired when firewood was available - lead us to think of Adam, made of the same stuff.
depicts their ancestors actually emerging from the underground mud in
Paradise and immigrating to their present location.
Atlantis, Eden and the Seven Golden Cities of Cibola
The Pueblos were early associated by the Spaniards with
the Seven Golden Cities of Cibola and with the legend of the
And these are, as we argue elsewhere, the same as the
Seven Islands of the Blest, which are no other than the sunken Eden
of the Judeo-Christians. The name of the Golden Cities of Cibola
very obviously came from the Dravida civ-pola, meaning "golden
city" or, yet, "city of the reds". It is
interesting to note that "Reds" or "Golden" are usual epithets of
the Atlanteans. Adam too was a "Red", that is, a
Chamite, as his name (means "red") unequivocally indicates.
Moreover, the number seven attached to the cities of Cibola is also
the one of the Isles of the Blest and similar sunken
of the ancients. In fact, the number alludes to the seven great
islands of Indonesia: Java, Sumatra, Borneo, Celebes, Philippines,
New Guinea and the Malay Peninsula, which the ancients counted as an
We recall that the fundamental rule of the science of symbolism is
that a symbol or a convention cannot be invoked to explain the
origin of another symbol, for this just transfers the problem.
the sacredness of the number seven - the holiest number of the
Hindus - can only derive from their seven Dvipas or Paradises,
that is, from precisely the above islands.
Can you think of another
sacred seven that is not purely conventional in origin?
The Spaniards mistook the Americas - which they later called
West Indies - for the East Indies, which they knew to be the site of
Paradise and, hence, of the fabled Seven Golden Cities of Cibola.
Cibola, "the Golden City", is just one of the many names of
The name of "Seven Golden Cities" or "Seven Golden Islands" was
applied by the ancients to the Indonesian islands, and to no other
This name is indeed a translation of the Sanskrit Suvarna-dvipa, which gave the Greek Chryse Chersonesos and the Latin
Aurea Chersonesus, all meaning the same thing as "Golden City" or
The Twins and the Great Mother
The Navajos trace descent through the mother, and their
families centers around the grandmother. This is another evidence of
their cult of the Great Mother, which is a feature of Dravidian
Hinduism. The Navajo rites, chants and dances are based entirely
on the characters, incidents and places of their mythology and
ritual designs. The dancers wear masks and dresses according to
exacting standards, and impersonate the gods and heroes (Kachina) of
Foremost among these ancestral heroes of the Navajos are
the Twins, the sons of Sun and Earth-Mother. These Twins are also
called "Little War-Gods", a name which closely evokes
that of the Hindu Ashvin Twins and, more exactly, the two brothers
Skanda and Ganesha, respectively the
generalissimos of the gods and of the devils in Hindu mythology.
The Twins free the earth from all sorts of monsters, creating order
out of the prevalent chaos. The Navajo Twins closely
correspond to the ones of the Pueblo Indians and those of the Mayas
and even the ones of the Indians of South America.
Navajo Twins are the counterparts of those of the Old World, pairs
like Castor and Pollux,
Atlas and Gadeiros, as well as the Ashvin Twins of
Vedic India. In all cases the function of these Twins was
ridding the world of monsters and pests, including diseases and
vermin. This is true on both sides of the world. Hence, it is naive
to think that such perfect correspondences can be the result of
A close comparison of these and other mythological personages
discloses the fact that Amerindian religion is very much the same
all over the three Americas, particularly insofar as their Cosmogony
is implied. However, as is so often the case with the oppressed
races, the Indians disguise their true religion under a heavy veil
of allegories and symbolisms that have to be deciphered before the
underlying unity and purpose become evident.
Even in this regards,
the religion of the Amerindians closely parallels the Mystery
Religions of the Old World, whose secret contents was never divulged
to the profanes, particularly if these belong to the despicable
Djos y Ley, the Archetypal Twins
Frequently, the Navajo own gods are synchretized to the alien deities
and saints, despite the fact that they are indeed their duals. For
instance, the Pueblo Indians disguised their Twins,
during Spanish dominion, under the characters of Djos
and Ley. These two are characters akin to the
Trickster, and figure in vulgar tales tending to the fescenine.
In fact, their names are corruptions of the Spanish Dios and Rey
("God" and "King") and embody the two types of divine authority that
we encounter the world over. These two types correspond to the
powers the Hindu impersonated in Mitra and Varuna, as so amply
Prof. G. Dumézil. Mitra ("twin") is the Solar Twin, and
personifies Royalty (Ley), much as Varuna is the Lunar Twin who
corresponds to Magic and Religion (Djos).
The Twins personify, everywhere, the two races of Man, from which
all humans arose. The junior (or lesser) twin is often likened
to a woman, and is dominated by his elder twin. Sometimes they are
made into a Male and a Female and their role is switched as the eras
alternate. The Twins are often likened to the Sun (or Sky) and the
Earth (or Hell), which are esteemed to be their parents.
With the Barasana Indians of the Brazilian Amazon
jungle, the Twins are substituted by the Primordial Couple. These
two consist of Jurupari and Romi Kumu. Romi Kumu somehow lost
his/her phallus, and became the Great Mother, just as Jurupari, the
Great Father, also lost his own, in a later occasion. But in many
other South American nations, the male (or androgynous) character of
the Twins is preserved, with one of them dominant, and the other one
dominated and effeminate.
These two Primordial Castrates closely evoke the ones of Greek
mythology (Ouranos and Kronos),
themselves copied from Brahma and Shiva, their Hindu archetypes.
When one pauses to reflect, it is difficult not to realize their
common origin somewhere.
And when one thinks even harder, it is easy
to see that this origin can only have been in the Indies, whence we
all came from, in the dawn of times.
The Twins as Fire and Water
More exactly, the Navajo Twins are, respectively, like
their Hindu counterparts, the children of the Sun and Water by the
Earth Mother. Again this dualism is of Hindu origin, and the Sun is,
(the Fiery Principle), whereas the Water corresponds to Indra
(the Watery Principle).
Vedic mythology is extremely difficult to penetrate. But it is
possible to show that Mitra ("twin") is
really an epithet of Indra (ind = "water"), whereas Varuna is really
the Celestial (or Sun) god fallen down into the Ocean. When this
reversal of roles happened, Varuna was degraded and descended to the
bottom of the seas, trading role with his Twin (Mitra), that
ascended to Heaven.
The Navajos and the Apache express their religion in the
ritual dances and chants of the whole community. These ceremonies
are intended to reestablish Cosmic Order and, hence, bring back
health to the sick; rains to the crops; game to the hunters, etc..
They also drive away the evil spirits that disturb Cosmic Harmony,
and invite in the good ones that foster it.
All their arts are combined in the rituals: the elaborate poetry of
the chants; the mythical geography; the beautiful masks and feather
head-dresses; the deep symbolism of the intricate sand paintings
and, finally, the spectacular dancing of the characters who wear the
Both the Apache and the Navajos call the Twins by names such as
"Killer-of-Enemy Gods" and "Child-of-the-Waters".
These names are shared by the other Athabascan-speaking peoples. The
enemy gods are the monsters that inhabited primordial earth, and
which rendered it unfit for human occupation before they were
exterminated by the Twins.
Most such monsters are cannibals like Big Owl and
Kicker-off-the-rocks. Child-of-the-Waters is the junior twin; the
helper of his elder bother. His name is a direct translation of that
of the Hindu Apam-Napat, himself an alias of Skanda, the Hindu
These two should be compared to the Twin War Gods of the
Pueblo Indians, as commented above.
The Exploits of the Twins
Navajo mythology hinges on the exploits of the Twins in
their quest of the mythical Center of Origin, the Paradise they
identify with the
Whirling Mountain at the Center of the World. In certain
versions, this Paradise was reached by a man who went down the
Colorado River inside a hollow log. This myth can be understood in
the light of similar South American Indian myths.
The hollow log is really a giant serpent (Anaconda) which is a sort of
submarine, inside which they came out from the underwater primordial
abode. In other words, the hollow log is an alias of the Ark,
which is often likened to a giant serpent both in the New and the
South American Indian mythology is presently far more
complete than that of the North American Indians, for
down here many tribes still survive in their pristine state, and
have not yet been acculturated by the missionaries and other white
But an in depth study of south American mythology
clearly shows a fundamental identity with that of their northern
brothers, particularly insofar as the myths of origin are concerned.
The Death and Resurrection of Wiyot
The Pueblo Indians and the Luiseños turned migrants in imitation of
They thus attempted to reach the Center of the Earth
where their god, Wiyot, had hidden himself after he
died. Wiyot was the first of all men to die, and his death taught
his people the example. In fact, Wiyot later resurrected as the New
Moon, and became immortal.
The example of Wiyot is literally copied from the
Hindu one of Yama
("twin"). Yama is an alias of Varuna as the lesser of the two Twins.
Indeed, the stories of both Wiyot and Yama anticipate that of
Christ, who died and resurrected in order to teach his worshippers
that it can be done in practice. The death and resurrection of
Wiyot is an instance of those of the so-called Vegetation
Gods of the Old World. To this famous confrary also belong gods and
heroes such as Tammuz, Attis, Adonis, Agdistis,
King Arthur, Hercules, and, of course,
Jesus Christ, Osiris and Dionysos.
What the story of Wiyot is indeed telling is that the
elder, the Solar Twin, dies and resurrects as the lesser one, the
Lunar Twin. In other words, what we have here is the alternance of
the eras and that of the ruling and ruled races with the passage of
Even Plato seemed to believe in this concept, as he held that
we are sequentially born as males and females (i.e. Solar and Lunar)
in successive metempsychoses.
Apparently, victims and oppressors
also change places. As one philosophical Indian once said,
were on top, we stepped on the necks of the whites.
Now they’re on
top, and step on ours."
The Primordial Migration
The migrations of the Luiseños, the Apaches
the Pueblos recall the identical ones of the
Tupi-Guarani Indians of Brazil.
Even before the Portuguese
arrived here, they knew their world was doomed. So, they started
migrating to the coast, awaiting for the Saviour that would lead
them safely across the Ocean, just as Moses, Christ, and other such
Tirthankaras ("Ford-makers" or, rather, "Saviours") had done
in Primordial times.
This mass migration precipitated the downfall of the once mighty
Tupi-Guarani nation. Out of their own bases, these Indians became an
easy prey for the Portuguese invaders, who cornered them against the
seas, and killed them off through starvation and purposefully spread
diseases such as smallpox and syphilis. More or less as happened in
North America, except that in a far larger scale, for the
genocide there was conducted by the government itself.
The pungent story of the Tupi-Guarani migrations in quest of their
Paradise, Yvymaraney (or "evil-less land"), is one of
the most touching dramas of the Amerindian saga in the three
Americas. We have told this sad story elsewhere, and will not return
to it here. Suffice it to say that the pilgrimages in quest of
Paradise and the Holy Land are perhaps the most prevalent of
religious rituals in the world.
Pilgrimages are done by the Hindus and the Arabs, as well as by the
Jews and the Christians alike. Pilgrimages are a sort of ritual
return to Paradise. Phony heroes seek to return to phony, purely
spiritual Paradises, whereas true Heroes like Alexander,
Dionysos and Gilgamaseh seek for the true
site of the Terrestrial Paradise. And this they invariably do, just
as their New World counterparts, by crossing into the Indies, as we
can read in the ancient sagas.
The first Europeans in America emphasized the differences and the
"savagery" of the Amerinds as an excuse to force them
into submission and slavery, and in order to be granted royal and
papal permission to steal their land and property and to
disorganize their nations and their religion. Thus deprived of their
values, the acculturated Indians became an easy prey of the far
more bestial Conquistadores and Bandeirantes who inevitably
the missionaries everywhere they show up among the
You know how it is: send the missionaries first. If they fail in the
task of destroying the social structures of the natives and in "converting"
them - a sure sign of their pact with the Devil - send in the
soldiers to butt in, and to punish the savages, and to force them
into complying. Once their culture and their religion and social
structure are disrupted, send in the colonists to take away their
land, their property and even their very humanity, through
enslavement and sheer genocide.
Look into History, and
you will see that this sad reality is the rule rather than the
exception everywhere in this world of ours.
The Meaning of Drug Cults
Like the Luiseños and the Mescalero Apaches,
the Pueblos and the Navajos often adhere
to Drug Cults. These are based on hallucinogens such as the sacred
mushroom, the peyote and the mescal. Indeed, most Indians use one
type or another of drug-induced ecstasy, in order to enhance their
mystical union with God.
Such was also the original purpose of the Holy Communion of the
Christians, where wine (a hallucinogen) substitutes for other drugs.
All such rituals ultimately derive from the Soma rituals
of the Hindus, as many specialists have recognized. Soma
was prepared from many plants such as hemp, mushrooms,
asclepias, etc., as well as from animal poisons obtained from toads
Drug cults were generalized in the whole ancient world as well, as
archaeological research is unequivocally uncovering. Even the
Egyptians were apparently addicted to such rituals. A recent study
of several Egyptian mummies by the meticulous Germans unmistakenly
revealed that the Egyptian pharaohs routinely used drugs such as
hemp, opium, tobacco and coca.
Now, hemp is an Indian plant, whereas tobacco and coca are of South
American origin, and opium was usually produced in the Near East.
So, what this remarkable research unequivocally discloses is the
existence of an ancient international naval trade in drugs (and
other goods as well) throughout the world, and encompassing
principally the Indies and the Americas in its routes.
Another often-used hallucinogenic drug is datura or jimson.
This is also called loco-weed or thorn-apple (Datura stramonium).
The datura is common to both the Old and the New World, and is also
widely used in India for the same ritual purposes as in the
Americas. Jimsonweed is particularly popular among the Chungichmich
of Southern California, and is much used in initiatic rituals
involving nagualism and shamanism.
Peyotism is based on the peyote (or mescal) cactus (Lophophora
Williamsii), native to Mexico.
In the US, Peyote is eaten in a
communal meal that closely resembles the Holy Communion of the
Christians, which it apparently parallels. Indeed, modern Peyote
religion actually claims that Christ instituted the "White
Communion" to Whites and the Peyote (or "Red")
Communion to the Reds. Interestingly enough, the ancient Hindus also
spoke of two similar types of Soma Communion, one "red" (or "golden"
or "Solar"), and the other "white" (or "silvery" or "Lunar").
Peyotism has been forbidden or, at least, persecuted, since early
times in the Americas. In 1620,
the Inquisidor General of New Spain
forbid the use of peyote by all Christians, a fact that meant that
those caught in the practice were not Christians and, hence, liable
to prosecution and burning-at-stake for heresy or witchcraft or
As recently as the late 1960s, Peyotism was still outlawed in
several regions of the United States of America.
The name of the peyote derives from the Nahuatl
peyotl meaning "divine messenger", which is more or less
synonymous with "Angel (or Envoy) of the Lord". In other words,
Peyotl is the "Christ", the Messias (or Emissary) sent down to the
Indians as the Celestial Messenger, the bearer of the Good News of
the Gospels. More exactly, Peyotl is the Third Coming of the Saviour
so ardently expected by the Gnostics and the Mystics everywhere.
When he comes, shortly, he shall bring the Celestial Bread to all
humans, the white one to the Whites, and the red one to the Reds, in
fair, equal shares to all of us humans.
The Great Mother, Venus and Nagualism
In Navajo mythology, the Great Mother is called Changing
Woman. Changing Woman represents the Earth.
And her name refers to
the idea that our planet periodically sloughs off its old skin (the
crust) like a serpent, being reborn as fresh and virginal as a young
bride. This motif is ritually enacted in Navajo dances and chants of
an initiatic character.
This periodic renewal of the world is connected not only with the
daily or the yearly ones, but with the eras of humanity dictated by
the Precession of the Equinoxes. In other words, Changing Woman is
the same as the Nagis ("Serpent Women") of the Hindus,
and her myriad counterparts such as Mélusine, Kokilan, Ganga, the
Queen of Sheba, Echidna, etc. who, all, symbolize the renewed earth.
More exactly, Changing Woman is Venus, reborn afresh
from the froth and blood of the castrated phallus of Ouranos thrown
down into the Ocean’s waters by Kronos. Indeed, Venus is the alias
or replica of the Hindu goddess Lakshmi (also called Shri).
born, exactly like Aphrodite-Venus, from the froth engendered at the
occasion of the Churning of the Ocean of Milk, in consequence of the
dispute between the gods an the devils (devas and asuras) for
possession of the Elixir of Life, the Soma.
The Primordial Castration and the Universal Twins
Again, this churning is a clever allegory of the destruction of
Paradise by the giant volcanism that changed Mt. Atlas
from a volcanic peak into a giant submarine caldera, as we explain
This event is also allegorized, again in beautiful images, the
Primordial Castration of the Holy Mountain of Paradise and its fall
into the Ocean, and the rebirth of the renewed Paradise of the
Another similar allegory is the one we mentioned further above,
concerning the myth of the Fallen Sun, who is also the Primordial
Castrate. The former Sun (male) falls down into the seas, and is
reborn as the New Moon (female) that is the alias of Venus or, yet,
of the renewed Earth and the rejuvenated Great Mother that is her
daughter, the Virgin. Interestingly enough, the birth of the Twins
is also attended by foam which, as we will see below, has a deep
According to the Male Shooting Chant of the Navajos, the
Twins were born from Changing Woman, and were fathered,
sequentially, by Dripping Water and Sun. Most mythical Twins are
born likewise, fathered by two different fathers. A well-known case
is that of Hercules and Iphicles, successively fathered by Zeus and
Likewise, Cain and Abel were also born of Eve, fathered, respectively,
by both God and Adam (Gen. 4:1-2). Indeed, even Jesus
Christ and his Twin (Thomas Didymus) may have
been bred this way. As usual, this double impregnation scheme
is of Hindu origin, and is instanced, f. i., in the
miraculous conception of Krishna and Balarama and that of the Ashvin
Twins. Several apocryphal gospels tell, often in allegoric but
unequivocal terms, of the dual paternity of Christ and his
The two fathers are either Joseph and the Angel,
the Holy Ghost and the Father or even Joseph and a mysterious
Roman legionary called Panthera.
The Regaining of Youth
In one Navajo sacred dance, Changing Woman, old, decrepit and feeble,
is led through the four different stations of a ritual sand
paintings and regains her youth, finally coming out as fresh and as
virginal as the Earth in springtime.
Apparently, she is reborn as a
male, the Junior Twin or as his twin sister, the Virgin. Junior is
far more than just a companion and mate to the Elder Twin. He/she
also seems to be his lover as well.
This is evidenced, for instance,
when Changing Woman completes the change, and sings:
Changing Woman’s child I have become,
With him I go, being restored to youth,
According to beauty I walk.
All is in accord again,
All is in accord again,
All is in accord again
All is in accord again.
The Navajo Twins and Their Old World Counterparts
The Navajo Twins also evoke Amphion and Zethos, the
builders of the walls of Thebes, in Greek mythology.
rough and brutal and gigantic like Slayer-of-alien-gods, whereas
Zethos was slight, gentle and charming like Child-of-the-waters. The
elder twin was born "somewhat precipitately, to the sound of
thunder", whereas the younger one was born "mildly to the
accompaniment of gentle thunder".
Their exploits are also treated in far more detail in those of their
counterparts among the South American Indians. There, the twins are
called Nanderikey and Tiviry by the Apapocuva Guarani,
names that mean, respectively "Our Lord" and "Twin". The Twins are
also worshipped by the other South American Indians, who call them
by equivalent names.
As we said above, some tribes make the second Twin a female, as is the
case of Jurupari and Romi Kumu. These two are, respectively, the
Great Father and the Great Mother of the Barasana Indians.
Among other Brazilian tribes, for instance the Ava-Katu-Etê and the
Aché, the Twins are identified to the Sun and the Moon, and are
actually called Kuaray ("Sun") and Yacy ("Moon").
The Primordial Couple of the Barasana Indians of Brazil also closely
recalls Yama and Yami, their Hindu equivalents and archetypes. These
names mean, respectively, "Male Twin" and "Female Twin", and their
myth and role is highly complex in Indian mythology. An even closer
parallel with the Barasana Twins is afforded by Shiva and Brahma.
Both gods end up by being castrated, like Romi Kumu and Jurupari.
This event takes place repeatedly in different occasions, during
which, in alternation, one of the Twins plays the female to the
other Twin. In this way they engender Humanity and, indeed the whole
Even in Christianism, things apparently accord to this scheme. The
figure of Christ’s twin is often the one of the
Beloved Disciple. This personage is often confused with
St. John the Baptist, with St. John the Evangelist, with Thomas
Dydimus ("twin Twin") or even Judas and Mary the Magdalene. For
instance, in Gnostic figurations such as the famous one of
Leonardo da Vinci, St. John the Baptist is traditionally painted
as an androgynous personage, charming and effeminate.
As we point out elsewhere, the "twin" figures of John and Christ, and
the peculiar circumstances attending their engendering, their birth
and their childhood were copied verbatim from the
Hindu Gospels of Krishna and Balarama. Even the puzzling detail
which the Hindus call samkarshana - the mysterious trading of wombs from one Virgin
Mother to the other - is not lacking in the Christian version.
Actually, these mysterious events are allegories of the Paradisial
events having to do with the Mass (Missa) and the Messias, as
discussed in the previous footnote.
But this theme cannot be treated
in more detail here, for certain things may not yet be disclosed.
The Six Veils of Amerindian Myths
The Navajo Twins were born in a mysterious spot, covered
by six successive veils: darkness, the blues skies, dusk, dawn,
mirage and heat.
They were reared by the doorkeepers of Changing
Woman, Bear Man and Rattlesnake Man. These two doorkeepers
apparently correspond to the Polar Constellations of the Lesser Bear
Draco, whereas Changing Woman herself corresponds to
Lyra, the third Polar Constellation, which is the female
counterpart of the other two, both males.
But we should never forget that the Celestial constellations, just as
the personifications of the Heroes and Gods are no more than
allegories, symbols and metaphors that stand for an ulterior
Reality. This is a complex subject, whose discussion does not fit
here, and which has been examined by us elsewhere. It has to do with
the alternation of the Eras of Mankind and the sharing of the single
phallus between the two deities, who trade roles and sex this way.
Of course, the stellar images are just allegorical, as indeed are the
personifications and the luni-solar avatars of both Gods and Heroes.
All such, are indeed personifications of nations, races and peoples
that fashioned human history and are considered to be our
More exactly still, the Twins personify
the twin Atlantises, the two Paradises where humanity
originally arose and evolved, becoming civilized, and reaching a
spiritual and technical development that we are still, despite all
our arrogance, incapable of even dreaming about.
When we grow up as
much as they did, we can perhaps become gods and angels, as
Pythagoras said we could.
The Mysterious Exploits of the Navajo Twins
Navajo Twins are usually referred to as Firstborn and Secondborn, a
standard designation of the Twins everywhere. Soon after their birth
- they grew up in a few days - the Twins set out to search for their
father, the Sun, in order to be granted powers. Their way is long
and difficult, and fraught with dangers posed by all sorts of
monsters and perils, which they conquer.
This tale closely resembles the one of the Mayan Twins, told in
Popol Vuh, concerning their return to Xibalba, the
mysterious Land of the Dead. The Land of the Dead is indeed Paradise
Destroyed and, more exactly still, sunken Atlantis,
the former Island of the Sun. In order to get there, the Twins rode
a rainbow, which magically transported them across the skies.
Successively, the Twins meet Spider Woman, Clashing Rocks, Cutting
Reeds, Burying-sand-dune, and finally reach the Sun’s house.
they are resisted by the Four Guardians: Bear, Rattlesnake, Wind,
and Thunder, who are appeased when they state their respective
names. The Sun, at first, fails to acknowledge the Twins as his own
children, and attempts to kill them. But after several unsuccessful
attempts, the Sun finally recognizes his children in the two valiant
He renders them invisible and immortal, "after his own image",
rendering them "holy forever".
The Twins as Monster-Killing Heroes
The Sun also gives his sons lightning bolts for weapons.
capable of killing all sorts of monsters, former children of his
own. The Twins then return to earth, falling from the skies "like
lightning bolts". The place where the first twin landed became known
as "Like-zigzag-lightning-he-came-down", whereas that of the second
twin was named "Let-down-on-a-sunbeam". These "descents from heaven"
in the shape of lightning bolts are avatars, a Sanskrit word meaning
"falling star" and, more exactly, implying the fall of the vajra.
The fall of the Navajo Twins is quaintly reminiscent of
of Christ and of Lucifer, the Twins of Judeo-Christian
traditions, to which we return further below. Upon their return, the
Twins start killing off all sorts of terrible monsters: Giant
Monster, Burrowing Monster, Kicker-off-the-Rocks, Tracking Bear,
Kills-with-the-eye, Walking Rock, etc..
Next, the Twins set out
again from their mother’s house, leaving behind their own
counterparts in the persons of Holy Man and Holy Boy.
The Twins successively go to Trembling Mountain, Whirling Mountain,
Mountain-fallen-away, Striped Mountain and Coiled Mountain, where
they learn the magic chants and the magic diagrams (sandpainted)
from various local deities. These five mountains are all holy. They
closely correspond to Mt. Meru and its four flanking
mountains, which are the sites of the Hindu Paradises, as we shall
see further below.
As such, the five mountains - which form a
quincunx like the Hindu and the Pythagorean ones —are endlessly
portrayed in the Navajo sandpainted mandalas which we will be discussing further below.
The Conquest of the Elixir and its Old World Parallels
Finally, the Twins are given the Elixir, called
This they give to their mother,
Changing Woman, in order to make her young again. After her change,
Changing Woman is made to move out to a place "near Canyon de Chelly" (the Navajo Indian Reservation in Arizona), forced out of
her pristine home by the Twins and other gods.
As is clear, Changing Woman represents the Indians (Navajos) chased
out of the Primordial Paradise by encroaching nations, including
their own offspring. Most of the features in the Navajo myth of the
Twins can be traced back to the Old World, as well as to South
America and other places. For instance the Clashing Rocks are the
same as the Symplegades of the Odyssey and the Argonautica, and also
have counterparts in South America, in the Yvymomó of the Apopocuva
Guaranis, not to mention the other Indians.
It is impossible to read the relation of the adventures of the
Navajo Twins without noticing the fundamental parallelism with the
similar deeds of Old World Twins and Giant-Killers. In
particular the adventures of the Amerindian Twins closely correspond
to those of Krishna and Balarama of Hindu traditions, of Gilgamesh
and Enkidu of Sumerian myths, or the ones of Horus and Seth in
Egyptian mythology or, yet, those of Atlas (or Orion)
and Hercules in Greece or of Thor and Odin among the Scandinavians.
In fact, all these myths derive from a single (Atlantean)
source, which was endlessly copied and adapted by each nation
along the centuries, and came to form the base of their religion,
again of Atlantean origin. It was also thus that the myth of the
Twins entered Christianism in the dual figures of Christ and the
Anti-Christ (Lucifer), that we mentioned above.
The White Island, which turned into a mountain at night and grew up
into the skies, is visibly the same as the Scylla of the Odyssey,
described in identical terms by Homer. Here, the myth of this
island-mountain has been is blended with the ones of the Leukades
("White Islands") and of Shveta-dvipa (idem) of the Hindus.
In reality, this lofty mountain is Mt. Atlas or Meru, called
Mt. Cassius (that is, Kachi or "White") in some traditions such as
the Greco-Roman and Phoenician ones reported by Avienus. The
dual of the Cosmic Mountain (Linga) is the Cosmic Chasm (Yoni),
figured in Homer
as the terrifying Charybdis faced by Odysseus in his trip to Phaeacia,
which is no other thing than the sunken paradise
In fact, Scylla and Charybdis - one a giant
volcanic peak, the other the enormous caldera of a submarine volcano
- are allegories of the impassable barrier of the Pillars of
Hercules, as we explain elsewhere in detail.
The Cutting Reeds that reach out to grab and cut up people is another
traditional motif of supreme importance.
This legend is connected
with the one of the Sargasso Sea of the ancients
which, allegedly, did the same. Ultimately, the (Phoenician) legend
of the Sea of Sargassos derives from the Hindu one of Nalanala ("Sea
of Weeds") and that of Kushadvipa ("the Island of Kusha Grass"),
whose reeds also retained passing ships and dragged them to the
bottom, just as Columbus and his men feared would happen to
them in the Caribbean region they mistook for the one of the Indies,
which they indeed intended to reach.
In fact, the above legends refer to the islands and seas of Indonesia,
in reality full of such sandbars and muddy shoals, spiny reeds and
weeds, as we comment in detail elsewhere.
And it is indeed in
Indonesia that we find the huge chasm which the Greeks called Symplegades, and which the Hindus call by the name of
Vadava-mukha ("the Mare's Mouth"). The Vadava-mukha is actually the
site of the Krakatoa volcano, which turned into a immense caldera
after the catastrophic explosive eruption that devastated paradisial
This giant explosion spit huge amounts of pumice-stone which formed
enormous floating banks that presented a terrible threat to
navigation in those seas. This happens even today, when the local
volcanoes, including the Krakatoa itself, erupt
explosively, spewing out cinders and volcanic bombs composed of
pumice-stone which forms enormous banks that hamper navigation in
the local seas.
From the magnitude of the banks of pumice formed by
such relatively minor eruptions, we can imagine the huge size of the
colossal explosion that razed Paradisial Atlantis.
The Hindu Archetypes
The magical rainbow that carries the Twins across the
skies relates to motifs such as the Flying Carpets of
Arab legends and the
Rainbow Bridges that access Paradise in Germanic
More exactly, they correspond to the Rainbow Nagas
of Angkor, which serve a similar purpose or, yet, the well-known
(or Flying Chariots) of the Hindus.
One such is Pushpaka, the giant airship that transported
and his immense armies on their way back from Lanka, the Paradise
they had conquered and destroyed in Indonesia. Lanka is the true
archetype of Atlantis, and it is interesting to find
in that war - the War of Atlantis - the super-weapons such as Pushpaka
and others such mentioned in the beautiful Hindu saga, the Ramayana.
Pushpaka was the size of a full city, and was covered
with many palaces gardens and fountains, all fully bedecked with
precious metals and gemstones of many colors. Like its Amerindian
counterparts, Pushpaka left a track on the skies with resembled a
rainbow or a meteor’s track.
True or fictional, such flying chariots
- called vimanas or vahanas in Sanskrit - permeate Hindu Holy Books such
as the Ramayana and the Mahabharata, and have clearly inspired the
other similar traditions like those of the Celts, the Germans, the
Indonesians and the Navajos.
The Meaning of the Fallen Angels
The idea of the Twins falling from the skies like twin thunderbolts
also derives from Hindu traditions.
The thunderbolt is really
the vajra, and represents a falling star or, more exactly, a
meteoritic fall. We encounter, as we already said, the same motif in
the Bible, where both Christ and Lucifer "fall from the skies
like lightning". In Indonesian traditions, illustrated in stone
in the majestic portals of Borobudur, it is the Celestial Nagas that do so, and that serve as the magic
rainbow bridge that links heaven and earth. In Vedic India, it is
the decapitated head of Dadhyanch (or Angiras) that falls from the
Dadhyanch is the archetype of the Fallen Angels
(Angiras = Angelos = "Angel") and their many aliases we encounter in
all mythologies. In Celtic mythology - or, more exactly, in the
Arthurian Cycle - we find this skull, which becomes the vajra, as
the emerald that fell off Lucifer’s crown during his Fall. And, as
we showed, the avatars of Vishnu are really allegories of such "star-falls"
(ava-taras). Indeed, the fall of Lucifer and even the
descent of Christ down to earth is described, in the Bible, as "similar
to the fall of a thunderbolt", an image obviously gotten from
the Hindu archetypes just mentioned.
This falling skull is the vajra. When it falls down into the ocean, it
forms the First Land, the same as the Primordial Hill that rises out
of the abyss in Egyptian traditions. It is also the holy Mountain
(Meru) at the Center of the World, the one
variously called by names such as Golgotha,
Qaf, Alborj, Bereshaiti, and
others such that mean something like "Skull Mountain".
In Judeo-Christian traditions, it is the skull of Adam that falls
from the skies thus, and that becomes Mt. Calvary (or Golgotha =
"Skull"), as we explain further below.
This type of myth is also allegorized as the Fall of the Sun or that
of his Son (Phaeton, Apollo, Lucifer, etc.). The events hidden under
such allegories are the periodic giant meteoritic falls that destroy
the world, just as they did in the dinosaurs or lifted off the Moon
from the Earth. Conversely, they also allegorize the huge volcanic
bombs thrown from under the earth into the skies by the giant
volcanic explosions such as that of Mt. Atlas, the
very one which destroyed Paradise.
In the Navajo legend we have the twin Sons of the Sun
falling down from Heaven just as we had the fall of Phaeton (son of
Helios) in Greece, or that of Solar Varuna in India. But, if we look
closer, such falls are always dual and often consist of the fall of
the Celestial (or Solar) Twin and of the ascension of his chthonic
dual into Heaven.
The Twins of the Navajos are armed with the thunderbolt
(likewise dual), just as are Zeus and Poseidon (the Thunderbolt and
the Trident) or Indra and Shiva (idem). The gods and heroes of
the Navajos, Pueblos and Apaches are called Kachina.
This word seems to be related to the Dravidian Kattiyam = "clever",
"dexterous", "heroic", which implies the idea of a Hero, that is, of
the male engenderer (Skt. gandha).
In other words, the Kachina are the Fallen Angels or
Celestial Messengers (= Peyote) who taught the humans all arts
and skills and freed the world from the monsters. Moreover, they
also loved and inseminated the daughters of such monsters,
engendering humanity from the semi-bestial apish creatures that then
peopled the earth.
These Fallen Angels are no other than the Atlantean Sons of God,
the Civilizing Heroes that we encounter in essentially all
mythologies of the ancient nations, both in the Old and in the New
World. Why would our forefathers invent such a myth and build their
religions around them if they were just a lie, an invention of some
sort? Saviors such as Christ, Mani,
Krishna among others, are deemed real, historical
The Saviors of all religions are indeed replicas, real or not, of the
Heroes of old, they too Sons of God by a mortal, and combining both
natures, like Christ and Krishna. When we go back in time, this
endless succession of Saviours ultimately end in Flood heroes such
Manu and Noah, the very ones who founded the
present era. And the Flood is indeed no other thing than the
cataclysm that foundered
Atlantis, in the dawn of times.
Hence, we see that, in
fact, the Civilizing Heroes are personifications of the Missae (or
Messias), the Celestial Messengers that came out from Atlantis,
that is, from the sunken Paradise turned into the Land of the Dead
of the ancient traditions.
The Island of Fire and the Island of the Sun
The Civilizing Heroes of both the Old and the New World were the
luciferine Dravidas of South India, Burma and pristine
Indonesia, the true site of Eden. As we said above, the "indigenism"
of the Amerindians was, like their "savagery" and their incorrigible
"irreligion", merely a contrivance of the Whites in order to
the genocide of their elder brothers of America, whose land and wealth
they burningly coveted. These pristine Dravidas were the
Atlantean "Reds", called by precisely that epithet in nearly
Eden, the Terrestrial Paradise, was indeed Indonesia and, more
exactly, the sunken portion of it which we identify with
Lemurian Atlantis. In fact, Indonesia is precisely the
"Island of Fire" that is associated with Atlantis in the ancient
Gnostic traditions. Indonesia derives its name from the Greek
Indos-nesos, meaning "Indian island". But the word "India" derives,
like the name of Eden, from a Sanskrit radix indh (or endh or edh)
So, the true etym (or etymon or etymology) of the name of Indonesia is
"Island of Fire", as we just said. But the above radix is also
associated with the idea of "sun" (Drav. endi, eddi), so that
"Indonesia" is also the "Island of the Sun", another frequent name
of Atlantis in esoteric traditions. Eden, the Terrestrial
Paradise, was indeed the Lemurian Atlantis that was the Great Mother
of gods and men. Her wonderful "Son" (or "Twin" or "Lover") was the
second Paradise, the Indian Atlantis, built in the Indus
The Meaning of the Navajo Sandpaintings
We finally reach a position where we can usefully interpret the
Navajo sandpaintings. This sophisticated form of artistic
expression they learnt from the Pueblo Indians, along
with the arts and techniques, as we detailed above.
We hope that, by now, the dear reader who followed us patiently up to
here, is at least half convinced that the Amerindian myths and
religions are essentially the same as those of the Old World,
particularly insofar as the esoteric message is concerned. And, if
he bears with us to the end of the present chapter he will, we are
sure, be as fully convinced as we were ourselves when we first
discovered the true meaning of Hindu and Amerindian mythology and
their intimate connection with the secret history of Atlantis.
Of course, the underlying meaning of the Amerindian myths is very
difficult to penetrate. It is perhaps even more difficult than their
Old World mythical counterparts. After all, the Amerindian myths
are, like the ones of the Old World, part of the secret of the
Mysteries. So, if they were easy to pierce, they would be no
Mysteries, and would require no Initiation at all.
But, even without fully understanding the inner meaning of the ancient
myths and religious traditions, it is readily apparent that they all
derive from a single, unique source of diffusion. The agreement in
form, in detail and in significance transcends all possibility of a
random coincidence. And the forms are so sophisticate, so close in
all details, and so transcendental as to preclude all sorts of
collective archetypes possibly engraved in the human unconscious, in
the way proposed by Jung and Eliade and, a little bit
less fancifully, by
Freud and his school.
The question is indeed one of diffusion, as is visible in the
transferal from the Pueblos to the Athabascans
(Apaches and Navajos) and in the other ones mentioned above. In
turn, the Pueblo Indians were instructed by the Mayas and Aztecs;
these by the Incas, and the Incas by the Civilizing Heroes that came
all the way from Indonesia, across Polynesia and Melanesia, as their
own legends and traditions tell in detail.
The Hindu Mandalas as Archetypes of the Navajo Ones
In the figures below we reproduce a few of the lavishly colored
sandpainted mandalas of the Navajos, as well as the even
more perfect ones of the Hindus and the Tibetans.
For reasons of
space, we are limited to presenting only a couple of such mandalas.
But the interested reader is recommended to pursue the
the references listed below, or in any others that he may find for
himself in the abundant literature on the subject.
Fig. 2 (a and b) shows the
Place of Emergence as the Central Mountain surrounded by the Four
Subsidiary Centers (also consisting of mountains or islands).
five mountains are the same as those visited by the Twins, as
described further above.
The four piled up triangles at the four
corners represent the succession of the Four Eras of Humanity, with
the fifth being the central one; the Age of the Heroes of Hesiod,
the one which corresponds to Atlantis.
The Hesiodic theme of the
Four (or Five) Eras (or Ages) of Humanity again derives from the
Hindu Yugas (Eras).
But the motif is also widespread all over the
Americas, as we show in other works on the subject.
triangles of the Navajo mandala represent the same
symbolism as those of the famous Shri Yantra mandala of the Hindus.
They represent, as shown in Fig. 3, the sequential Creations of the
successive eras emanating like waves from the Primordial Center.
sandpaintings, the four subsidiary Holy Mountains placed at
the Four Cardinal Directions are often substituted by their Four
Guardians. These four are often figured as snakes or birds, their
These Guardians are usually colored, and the
respective heraldic colors are White, Yellow, Blue and Black, with
the fifth, Pink, included at times.
The four colors are those of the
Sun’s House, which is the Central Mountain and combines all four
colors in either stripes, dottings or superimpositions.
The four snaky Guardians are the exact counterparts of what the Hindus
call the Four Nagas ("Snake Guardians" or "Dragons").
In India too these guardians are often symbolized by their four
mountain peaks, completing the quincunx centered around Mt.
Anyone who pauses to ponder on such exact coincidences
cannot, we believe, come to a different conclusion than that they
indeed originated in India and Indonesia and, more exactly, in
The Secret Meaning of the Hindu Mandalas and Yantras
The Holy Mountain of the Hindu Paradise is often represented in even
more subtle allegories than the ones above.
One such is a famous
fretwork of Hindu origin consisting of a four-pronged star encircled
by an octagon. The four-pronged star is indeed a pyramid (Mt. Meru)
seen from above, in plant. The four faces of it are indented,
like in the Great Pyramid and in that of Mykerinos,
so that the pyramid becomes a four-pronged star. The encircling
octagon represents the circular Oceanus which surrounded
Atlantis. The endless succession of such encircled pyramids
represents the infinite succession of the eras along time.
A very similar motif is the so-called dogtooth fretwork. It consists
of a repeated series of four-sided pyramids in relief, each having
the faces indented like those of Mt. Meru and the Great Pyramid. The
idea is, again, identical to the above one. Other similar
decorational motifs are used by the Amazonian and others Indians
from South America in their sieves and other basketry. The colors
they use are usually the ones of the Hindu four varnas
(red, black, white, yellow), obtained by using fibers of different
Again, their preferred motifs are those of pyramidal Mt. Meru seen in
plant as a four-sided star or a cruciform mountain. These clever
Amazonian designs date from an immense antiquity, as attested by the
ceramics found in the island of Marajó and elsewhere. Moreover, they
closely correspond to similar vase decorations found elsewhere in
the Americas and, indeed, all over the world, as we illustrate in
There can be little doubt that this decorational motif represents one
and the same thing and, hence, derives from a single source.
In fact, they are all variants of the mandalic representation of
Mt. Meru, the Holy Mountain of Paradise. And, when we pause to
reflect on their meaning, we see the reason why they are called
mandalas or yantras.
The word yantra means "device for thinking" in Sanskrit,
whereas mandala ("wheel ") is indeed related to the radix manas
("mind"), and implying the idea of "device for reminding". In other
words, the mandalas or yantras such as those under discussion are
devices for meditation on the Paradisial events and, more exactly,
on the destruction and sinking of Atlantis by the memorable
explosion of its Holy Mountain.
The Serpentine Rainbow Goddess and the Ouroboros
Encircled all around the Central Mountain and the four subsidiary
peaks of the Navajo mandala we have the Rainbow
Goddess, here figured as a snake.
This Rainbow Snake that encircles
the whole Earth is indeed the Circular Ocean. It is sometimes made
double - as all things are dual. The earth-encircling ocean has its
double (or microcosmic replica) in the River Oceanus that encircled
Atlantis, as well as its many counterparts all over the world.
The great circle of the Ocean is represented as a giant snake (the
Ouroboros). It opens towards the Orient, in an obvious reference to
the Gates of Paradise, which lies towards that conventional
direction. The Circular Ocean is also shown explicitly in the Hindu
mandalas of Fig. 3, one of which is the famous Shri Yantra, in a
stylized rendering. The lotus on top the Holy Mountain of the Hindu
mandala of Fig. 3 is indeed the Golden Lotus whose esoteric meaning
we examine elsewhere in detail.
The Golden Lotus is indeed the
"atomic mushroom" of the giant volcanic explosion that destroyed the
site of Paradise and ultimately caused its sinking away. This
"lotus" is the Pillar of Fire and Smoke that guided the Israelites
on their flight from the site of Sinai, precisely the same mountain
that the Hindus call Meru and the Greeks called Mt. Atlas.
The Circular Ocean is, in reality, the same as the River Oceanus that
encircled Atlantis, according to the description of Plato and
others. This circular river (or canal, rather) is a classical
feature of the traditional descriptions of the Hindu Dvipas
(Paradises). It was, just as in Greece, also the circular river of
Hades which the Greeks equated with the Styx and the Hindus with the
infernal Vaitarani, for sunken Atlantis veritably turned from
Paradise into Hell.
Mt. Meru and the Whirling Mountain
Anyone familiar with Hindu mythology will immediately recognize that
the above Four Colors - Red, White, Yellow, Black - are those of the Hindu varnas (or "castes").
And, in fact, these four colors represent the Four Races of Mankind,
which originated in Paradise, at least, according to tradition. The
arrangement of the Central (or Whirling) Mountain surrounded by four
subsidiary peaks in the Navajo sandpainted mandalas also corresponds
to that of Mt. Meru, flanked by its Four Guardians and their
corresponding four subsidiary mountain peaks. In India, as with
the Navajos, the Four Guardians are also represented as
either gods (Lokapalas), mountains, snakes (Nagas) or birds
(Garudas), which are frequent animal shapes assumed by them.
Moreover, each of the Four Hindu Guardians is also associated with a
heraldic colour, in exact correspondence to the Navajo
ones: White, Yellow, Black and Red. Red is the color of death
and bloodshed, representing the warrior caste. This is symbolically
equivalent to purple or blue, the color associated with death by
asphyxia (drowning, hanging, etc.). This "death" is the drowning of
Atlantis-Paradise turned into Hades, into the Realm of the Dead, by
The other three colors also correspond to the other three castes of
Vedic India. So it is visible that the Hindu tradition somehow
passed into the Americas, where it was universally utilized. As can
be seen in Fig. 3, the four sides of Mt. Meru are also similarly
colored with the Four Varnas. The Four Subsidiary Centers (or
Guardians) are sometimes represented by the Four Trees shown in Fig.
2 or by buffaloes (not shown) or, yet by Winds, Suns, Moons, Bats
(Vampires), Thunderbolts, as well as by Coiled or by Standing
Serpents resembling zigzag lightning and ball lightning.
The Central Mountain is sometimes shown as a sort of rosacea (or
four-leafed clover), with each leaf of one of the above four colors.
This rosacea shape of the Holy Mountain is also frequent in India,
where it was often identified to the Lotus or Rose, another allegory
of Creation. More exactly, the Lotus allegorizes, as we just said,
the "atomic mushroom" of the colossal explosion of Mt. Atlas, the
one that destroyed Paradise. It was this explosion that drove the
survivors out, and triggered the process of Creation everywhere, in
a worldwide scale.
The rosacea of the Navajos (and other related forms)
really represents a pyramid of four sides terminated by a round
base. This is an exact replica of Mt. Meru of the Hindus, which is
the true archetype of all such four-sided pyramids or mountains from
all over the world. Mt. Meru is also the Polar (or Whirling)
Mountain, turning at the Center and supporting the skies, just as is
the case with Mt. Atlas, the Pillar of the Skies, in Greek myths.
In other words, what the Whirling Mountain of the Navajo Indians
indeed represents is Mt. Atlas, the Pillar of the World.
And this "pillar", the Pillar of Heaven, is, as we just said, the
same as the Pillar of Fire and Smoke topping Mt. Sinai during the
Exodus. Mt. Atlas is just the name given by the Greeks to Mt. Meru,
the Holy Mountain of Vedic Traditions. It was from this hymnary and
the associated Hindu myths that the Greeks copied their traditions
on Atlantis, already old in India and Indonesia when the Greek
nation not even existed as such.
The Greeks translated as "Atlas" the Hindu name of Atalas, another
name of Mt. Meru, the Mountain of Paradise. This Sanskrit word means
something like "sunken down", and was rendered it into the Greek
language as Atlas, a word they likewise derived from a-tla, meaning
"the one that did not (a) bear out (tla)", which is approximately
the same etym. As is clear, the Greeks copied their myths on Atlas
and Atlantis from the Hindu/Indonesian ones, which are not only far
older, but indeed conformal to the local geography and factual
So, the coincidence is not only of the actual traditions, but also of
the very names between Greek myths and Hindu ones. And the region
where the terrible event indeed took place was Indonesia, the true
site of the former Hindu Paradise (Atala) turned Hell.
What else can
we conclude but that the tradition of Atlantis indeed derives from
the Indies and that it is there that we must search Atlantis-Eden
and the origin of Mankind and Civilization?
The Four Guardians and the Lokapalas
Alternatively, in other Navajo mandalas, the Four
Guardians are represented as Four Suns, Four Moons (identical) or as
two pairs of Suns and Moons. These four figures are called Sky
People, and are equated to Dawn, Blue Sky, Yellow Evening Light
(Dusk), and Darkness. These are indeed the Four Cardinal Directions:
Orient (or East), Occident (or West), Noon (or South) and Darkness
(North). More exactly, they correspond to the Four Corners of the
The Four Trees are the Trees of Life represented by four domesticated
plants springing from the Central Paradise. Sometimes, all four are
corn trees (maize), the Sacred Tree of most Amerinds. We note that,
in Fig. 2, the subsidiary mountains are crossed by two perpendicular
diameters. This emblem corresponds to the traditional symbol of the
planet Earth, as well as to the so called Cross of Atlantis, as it
corresponds to the shape of the capital city of the empire described
The "Trees of Life" springing from the Navajo Paradise
vividly portray the fact that agriculture and the domesticated
plants and animals - whose mysterious origins are one of the
greatest riddles of Mankind - indeed originated in Lemurian
Atlantis, in Eden or Paradise. From there the Navajos came, in the
dawn of times, from the Primordial Cave buried under the Holy
Mountain and turned the Realm of the Dead, the Paradisial Hades or
Amenti or Xibalba or such, which the Judeo-Christians later turned
into a hellish Sheol.
More exactly, the figure portrayed in the mandala in question
represents the same shape mentioned above, that of a four-sided
pyramid with a round base which is the peculiar form of Mt. Meru.
Apparently, this form was an idealized rendition of Mt. Everest,
which has approximately the pyramidal form.
At the symbolic level, this round-based pyramid represents the
"squaring of the circle", here allegorized by the serendipitous
reunion of the two incongruous geometries, the circular base and the
square top. This odd shape matching incongruals is also found in the
Indies, for instance, in certain olden pagodas illustrating the
Golden Mountain of Paradise (Mt. Meru), precisely as with the
Whirling Mountain of the Navajo Indians.
The Whirling Mountain of Paradise
The Central Mountain in Fig. 2 has a central circle
representing a flat-topped cone or, rather, a volcanic crater.
flat-top is also a feature of Mt. Meru (the lotus") and represents
the "decapitation of Paradise" that is commemorated in the world’s
mythologies. Sometimes, this central flat-top is represented by an
actual bonfire at the center of the diagram. Alternatively, it is
conventionally represented by a red cross at the exact Center of the
World, that is, at the top of the Whirling Mountain of
As in India, the idea is that the Whirling Mountain represents the
Polar Mountain, placed at the exact center of the world,
under the Pole Star. In fact, this universal allegory - which makes sense nowhere but in India
- is an esoteric reference to
the Tara-milas (the Dravidas or Tamils), a name that means "People
of the Pole Star".
The reason for that name derives from the fact
that the Dravidas identified their Supreme God - Shiva Sthanu, the
Pillar of the World - with the Pole Star (Canopus),
which they utilized in their Celestial navigations in Atlantean
The Pole Star and the Whirling Mountain of Paradise
The Pole Star in question was the Southern Pole Star of the epoch,
Canopus, which the Greeks identified with Atlas and the Egyptians
with Osiris as the Djed, the "Pillar of the World". The placement of
the Holy Mountain of Paradise - Mt. Atlas or Meru or the Whirling
Mountain, etc. - directly under the Pole Star is, we repeat, a mere
allegory, a purely symbolic representation of its association with
the Tara-milas or Dravidas, and with their great god, the alias of
the Pole Star.
The researchers who insist in placing Atlantis and/or Lemuria in the
Polar Regions of Antarctica and the Arctic - against common sense
and against the massive scientific evidence contrary to the idea of
Pole Shift - commit a most grievous mistake. We heard that the main
proponent of the idea of Pole Shift, John White (Pole
Shift, Berkley Books, New York, 1980) has discarded that
preposterous, anti-scientific notion. Perhaps his followers, who
obtained the harebrained idea from the late Charles Hapgood,
should also follow the example of their precursors. The serious
reader is urged to discard such a farfetched nonsense, that can only
harm the cause of Atlantis, and bring discredit to it. After all, "you
cannot fool the whole people the whole time", can you?
The Pole Star was often equated with the Morning Star. More exactly,
we then had Twin Pole Stars, one the North Star (Vega)
and the other the Southern Star (Canopus). These were
represented as the Twins of all mythologies and, in particular
the Twins of Navajo traditions. In Egypt, for instance, the
Twin Pole Stars of Atlantean times, Vega and Canopus, were
identified to Hathor and Horus (the Elder), or, also, though more
confusedly, with Isis and Osiris.
In later times, after the fall of Atlantis, these twin gods were also
equated to Sirius and Orion. In Greece, the Twins were often
identified to Atlas and Hesperus, themselves identified to the
Morning and the Evening Stars and, more exactly, to the Twin Pole
Stars of Atlantean times, Vega and Canopus. These Twins, as those of
the Navajos and other nations, personified the two
primordial, destroyed Paradises, Atlantis and Lemuria.
The Whirling Mountain Is Indeed a Volcano
The Fiery Mountain (or Hogan) is actually a volcanic peak with its
central crater. It is also a conventional representation of Mt. Meru
as the Hollow Mountain that connects Heaven to Hell below. As in
Indian symbolism, we see that the Navajo Sun-god is
really Agni, the Principle of Fire, embodied not only in ordinary
fire, but in underground fire (volcanic magma). Alternatively, Agni
is also represented as Celestial Fire (thunderbolts, meteorites, the
Sun). These three modalities of Fire are the Three Forms of Agni of
Hindu mysticism. They also correspond to Shiva Trikaya
("Three-Bodied") and, in Greek myths, to the three-bodied giant
Geryon, an alias of Atlas.
Thus, when the Navajos affirm that they
came out from the Sun House or from within a cave representing Hell
below, they are indeed saying that they came from Indonesia, the
true site of Eden, placed at the very Center (or "Navel") of the
Earth. This Paradise Destroyed turned into a veritable inferno,
plague-ridden and sterile, after it was devastated by the volcanic
explosion far fiercer than the one of the Krakatoa in 1893.
This explosive eruption we already discussed above in connection with
the "foam" or "seafroth" (pumice) that covered the seas of Atlantis
after the cataclysm that destroyed it. Indeed, the references to
foam (or "seafroth") connected both with Venus and with Changing
Woman, as we mentioned above, actually refer to the vast amounts of
pumice that covered both the seas and the land after the cataclysmic
eruption of that volcano.
This mantle of volcanic ashes formed a sort of shroud, enveloping the
dead body of Paradise, asphyxiating all forms of life for centuries
on end. This terrible event is endlessly referred to in myths
connected with the destruction of Paradise, in the so-called Cosmic
Hierogamy of Fire and Water. These floating banks of "seafroth"
(pumice) formed the "impassable barrier of slime" (ilus or "froth",
in Greek) mentioned by
Plato as covering the seas of Atlantis and rendering them
inavigable in a more or less permanent way, as we commented above.
The Pueblos, Hogans and Tepees as Imitation Volcanoes
The Navajos often depict the Central Mountain (or Sun’s
House) as a sort of habitation entered from above by means of a
ladder, exactly like the actual houses of the Pueblo Indians, and
those of Çatal Huyuk. There can be no question of coincidence here,
and we are led to conclude that these strange habitations actually
attempted to imitate the Primordial Cave, that is, the volcanic
caldera that linked to the netherworld whence these Indians
What else but Atlantis can this more or less real Netherworld be than
sunken paradisial Atlantis? Can you think of a fitter allegory for
the sunken continent than that of the Primordial Cave? This cave is
also the Pacari-Tambo of Mayan traditions, the Cave of Archetypes of
Plato's myth, the Cave of Illusions of the Ramayana, and of a
hundred similar traditions from all over the world. And, of course,
this sunken, buried Paradise is no other thing than Atlantis
and, more, exactly Lemuria, its twin and dual.
So, the Indians themselves claim that they originally came from
Paradise Sunken, from Lemurian Atlantis, in the dawn of times. This
is just as we also claim, under slightly different allegories. Why
do we insist in denying this fact but with the intention that
originally underlay it, that of depriving the Indians and other
aboriginals of their humanity and, even, their divine origin, so
that we can enslave and exploit them as we have traditionally done
and keep doing even today?
Actually, the Navajo hogans also resemble a sort of
volcano, being built of mud and sticks so as to resemble a round
mountain peak with a fire inside (the central stove). The typical
tepees of the Plains Indians also resemble volcanoes even more,
being conical in shape with a vent on top to let out the smoke of
the inner fire. By the way, the word hogan came from the Spanish
meaning "stove", and implies an idea of "volcano", just as does the
The idea of a fiery devastation connected with volcanoes is also
evidenced by the fact that the Sun’s House is first painted with
soot obtained from burnt grass, and them covered with the other
colors. Moreover, its place is often described as immersed in a
perpetual fog and darkness, such as the ones that result from a
volcanic explosion of importance.
The Mountain Fallen Away
As we saw above, the Central Mountain is also called
"Mountain-fallen-away" or "Sky-reaching-butte". The ritual for the
construction of figure of this butte is described thus:
This butte is not
constructed of anything common... First, clay for pots is built into
a tapering cone, but not to a point...
After this is made,... black from burned herbs is sprinkled over, in
order to represent darkness... On the flat top is a small black
circle and, across this, a red cross representing the fire inside.
In other words, we have an
exact miniature of a volcanic peak covered by soot and by enveloping
dark smoke. We can compare the Navajo sandpaintings
with the ones from the Mayas, shown in Fig 4 below. This figure is
taken from a Mayan Codex. Except for the different style, the
conception is exactly the same as that of the Navajo mandala of Fig.
2. At the four corners, we have the Four Trees of Life, each
attended by two Guardians, each having a bird sitting on top,
exactly as in certain Navajo sandpaintings.
At the center of the
mandala - the Center of the World - we have the figure of a warrior
wielding a three-pronged thunderbolt (or vajra). This figure closely
evokes the similar ones of Zeus and Shiva, likewise three-pronged.
This warrior is the Sun or, perhaps, his "son", who is indeed his
renewed avatar. And the three-pronged vajra (thunderbolt) wielded by
the personage is indeed the three-peaked mountain Trikuta, the same
as Mt. Meru, the Holy Mountain of Paradise.
In the previous footnote
we saw how, in India, the words for "thunderbolt" (ulka) and for
"volcano" (ul-kan) are more or less synonymous. Hence, the
thunderbolt-wielding god here portrayed is indeed a personification
of the three-peaked, volcanic mountain of Paradise (Trikuta).
Such a visual wordplay - which does not obtain in Amerindian languages
or any others - can only have originated in India. The conclusion is
also that the similar themes in the other mythologies of the world
are also consequently of Hindu origin, unless contrary evidence is
The name of the "Mountain-fallen-away" is a direct translation of the
Hindu originals which figure in innumerous myths under names such as
that of "Decapitated Mountain". This mountain is no other than Mt.
Meru or, more exactly, Mt. Kumeru, the Holy Mountain of Paradise.
The name in question is also an exact translation of that of Mt.
Atlas, which is formed of the Greek prefix a meaning "not" and the
radix tla, meaning "to bear out", "to withstand".
In other words, the name of Mt. Atlas indeed means "the one who did
not withstand" or, what is the same thing, "the mountain that fell
away" (collapsed), just as did the one of the Navajos.
In turn, the Greek name of Atlas derives directly from the Sanskrit
Atala or Atalas, the name of a Hindu sunken Paradise which has
exactly the same signification, and which was the actual archetype
The Twins and the Skull Mountain of the Aztecs
The Primordial Twins are, likewise, the central figures of
Popol Vuh, the classic Mayan saga. The Mayas too have the
Four Guardians (called Bacabs) which they equate to the Four
Horsemen of the Apocalypse. They also speak, as do the Hindus and
the Navajos, of the Four (or Five) Eras of Humanity, each
corresponding to one of the Guardians.
An Aztec mandala similar to the ones of the Navajos and
the Hindus is shown in Fig. 5. In it, the Central Mountain is
replaced by a skull, likewise placed at the Center of the mandala.
This Skull Mountain
corresponds to the one formed by the skull of Dadhyanch, in Hindu
myths, and to that of Adam in Judeo-Christian mythology.
The skull of Adam is said, like the one of Dadhyanch, his archetype,
to have fallen from Paradise above. It fell in the center of
Jerusalem, itself the Center of the World, and formed Mt. Golgotha
or Calvary ("Skull"). Adam’s skull was later found at the feet of
Christ’s Cross when its ground was being dug in order to fix the
Cross to the ground.
Like in the traditions
just mentioned, the Mayas have a high reverence for the Skull
Mountain, which they associated with
the crystal skulls
they worshipped, and of which several magnificent exemplars were found
inside the Mayan temples and pyramids. Interestingly enough,
Adam’s skull, like that of Dadhyanch was said
to be made of quartz crystal
or, rather, of crystal-clear diamond, whose Greek name is precisely
Adamas ("Untamable"). Coincidences? Can you really believe it?
Interestingly enough the
Skull Mountain of the Aztecs is also topped by a Cross, just as is
also that of the Navajos and the one of the Mayas
shown above. Many other similarities exist between the Amerindian
Cosmogonic symbols and those of the Ancient World. But their
discussion is left for a better occasion, and a more discreet arena,
for certain things can not be told to all. However, what we just
saw, is hopefully sufficient to convince the reader of the reality
of what we claim concerning the reality of Atlantis-Eden.
Finally, we return to the Hindu-Tibetan mandalas discussed further
above. These mandalas are usually done by painting (on cloth) or,
more often, by sandpaintings identical in technique with those of
the Navajos and the Pueblos. This type of Hindu mandala - such as the ones shown in Fig. 3 above
- is called Shveta-Dvipa (or
"Pure Land") Mandala or, yet, Kalachakra ("Wheel-of-Time") Mandala.
These represent, as do the Amerindian ones just discussed, Mt. Meru as
the Central Mountain of Paradise. Most often, Mt. Meru is shown as a
four-sided pyramid with the same four colors as those of the
Navajo mandalas. In some instances, Mt. Meru is represented
as a cone or a four-sided pyramid flanked by its four subsidiary
peaks, just as in the Amerindian mandalas.
These four subsidiary peaks represent the Four Pillars of the Earth.
These are placed at its four corners, around the Central Pillar, Mt.
Atlas, the Pillar of Heaven. In real terms, the Four Pillars are the
Pillars of Hercules, placed two in the Far Occident (Gibraltar)
and two at the Far Orient (the Strait of Sunda, in Indonesia).
In Egyptian mythology, these Four Pillars are quaintly represented
as the four members of Nut (the Sky Goddess) planted on the ground,
and two in the Orient, two in the Occident, just as in the present
What else but diffusion can account for this perfect identity in
design, in symbolic meaning and even in rendition technique
(sandpainting) between the mandalas of the two distant continents?
Can anyone really believe that this remarkable coincidence may be
attributed to chance or, worse still, to an inborn feature of the
human brain, imprinted on the human unconscious, as some will? If
so, why do other nations far closer in time and distance than the
ones we are discussing never hit on the same ideas and concepts?
Moreover, if these archetypes were imprinted somehow, except
miraculously, this imprint could only be the result of a direct
observation of actual facts, shocking enough to get imprinted so
deeply in our minds. But then, Atlantis, far more than sheer myth,
is pure reality. If so, it is certainly a most memorable one. Hence,
one way or the other, in our opinion, the tradition of Atlantis and,
hence, of Paradise, can only correspond to actual fact. How else can
we accept for its central presence in the traditions of essentially
all nations of the world, from the Amazonian jungles to the deserts
of North Africa, and from the Indies to the distant European
An Ancient Technique of Projective Geometry
A final point we wish to moot out is, again, one of technique.
Sophisticated techniques such as sandpainting or Projective Geometry
are hardly ever the result of different, independent inventions.
Their presence usually means transference, through direct contact. A
close comparison of the mandalas shown in our figures reveals a
peculiar fact. All are done by means of a technique of Projective
Geometry called "side-projection" or "side-elevation". The four
lateral features area hinged to the sides, and are shown in front
view, rather than from above, as is the case of the central feature.
It is rather unlikely that such a technically sophisticate and highly
conventional rendition could be passed down the generations as a
simple innate memory, dating from the primordial eras of mankind.
Besides, this technique, as shown above, exclusively applies to the
depiction of Paradise as the Primordial Center and, as far as we
know, to no other situation.
Even the Celestial Jerusalem - another such Center or Paradise - is
represented according to this peculiar mode of projection. So are
certain Hindu Paradises such as Vaikuntha (Indra’s Paradise), which
is clearly the archetype of the Celestial Jerusalem.
Hence, once more, we are led to reject any explanation of the
remarkable coincidences shown above based on "innate archetypes" or
"supernatural revelation". Indeed, we really have a case of
"revelation" here. But the "Angels" or "Civilizing Heroes" are very
real indeed, and not at all a figment of someone’s imagination. They
are all too human who fell desperately in love with the daughters of
the (other) humans, the survivors of the cataclysm that destroyed
and sunk away Atlantis, the true site of Paradise.
Of course, this Paradise - call it Atlantis, Eden, Yvymaraney, Aztlan,
Atala, or Land of the Sun - was not found before, because it sunk
away in the Flood, and disappeared in fact, just as told in the
Bible. But it survived in Man’s imagination and in the religions and
sacred traditions of everywhere. This blessed place was called the
Terrestrial Paradise, and has nothing to do with the imaginary
Celestial Paradise promised the dead by the official religions, and
which is a purely spiritual reality.
Again, like this Paradise, Atlantis, has also not been found up to
now. But this is not because it did not exist or left no traces
whatsoever, but because it has been sought in the wrong places, in
the opposite side of the world from where it indeed lies. In fact,
as all traditions affirm, when correctly interpreted, that
Atlantis-Eden indeed lay in the Land of Dawn, the Island of Fire
that is also that of volcanoes, of Sati (or Dawn or Vesta), the
Great Mother who committed suicide by throwing herself in the
funereal pyre of her husband. And this beautiful allegory - which
was turned into the Hindu ritual of sati ("sutee") which so shocked
the Europeans in India - is merely a personification of the
primordial engulfment of Atlantis by its fiery volcano.
Seek, and Ye Shall Find
The only viable explanation for the identity of the Navajo
and the ones of India and Indonesia is the natural one of diffusion.
And, as illustrated in their mandalas themselves, this diffusion
starts from a center; the very Center portrayed there. Any other
attempted explanation can only lead to paradox and obscurity, as
they all have, up to now.
But, if the Center - the so-called Terrestrial Paradise - really
existed, why not accept what Tradition obsessively tells us, and
adopt the traditional names such as Atlantis, Lemuria, Eden, the
Isles of the Blest, and so on? Why reject the reality of such places
just because we deem the natives stupid and mischievous, and refuse
to accept their holy traditions as true fact? Has the fact that we
forgot our own traditions - the ones we repeat mechanically in our
religious rituals, like apes, as a sort of Cargo Cult - something to
do with our scorn of them? Or do we fear to be deemed even more
stupid than the natives we oppress and rob, not only of their
possessions, but even of their religious traditions, forcing them to
accept our own white-suprematist, Judeo-Christian ones?
It is obvious that all our attempts to locate these holy sites in the
Far Occident or in the Middle East have so far failed miserably. Why
not, then seek in the right spots, in the Far Orient so clearly
mentioned in the Bible and elsewhere? It is in India and in
Indonesia that Atlantis and Lemuria, the two Centers
of Primordial Civilization are to be found, and nowhere else.
If we indeed want to find the site of Paradise - the supreme endeavor
of all truly great sages of the past - we should do what the Heroes
did, and search it in the Indies. And if we do it, we shall find, as
a surplus, that all the ancient Paradises are but one, that of Eden,
in the region of India and Indonesia. Most of it sunk away, as we
detail elsewhere. For, all true traditions are but one: the
Primordial Tradition that came down to us from the dawn of Mankind
as the legacy of our Atlantean forefathers.
And this Tradition is that of Eden or Atlantis, precisely as related
by Plato. Why should we persist in deeming Paradise and
Atlantis unreal - an outright lie of our ancestors of old and of the
stupid natives - when all the geological, the geophysical and the
anthropological evidence unequivocally indicates that it indeed
How can anyone seriously believe that the beautiful sandpainted
mandalas of the Navajo Indians and their many symbolic
counterparts in the Americas and elsewhere representing the Holy
Mountain of Paradise in exactly the same way, the same sacred
geometry, the same symbolism, and the same techniques (sandpainting,
"side-elevation" projection) can have originated independently from
the ones of India and Indonesia?
The only alternative explanation is through divine inspiration. But
why would God cheat us, and inspire a Paradise that never was but in
our wildest hopes? I, for one, refuse to believe that God would
cheat and delude us with illusions and unreal chimaeras, just for
fun. Why does the Bible tell, just as the Navajo
traditions, of a Terrestrial Paradise, if it only exists in the
never-never-land of Heaven. How come the two distant traditions
invented the same lie on opposite sides of the world, independently
and more or less simultaneously?
More exactly, this enormous mass of evidence all points towards the
Far Orient, the true Land of Sunrise, the Land of Dawn, our dawn,
the dawn of Mankind. There the Sun of Civilization and Intelligence
first rose and shone, with the brightness of a thousand suns, as
shiny and as scorching as the volcano that later destroyed it
There the Phoenix first awakened and rose, crossing
from the ancestral Heliopolis into its replicas elsewhere, into
Egypt, the Near East, Polynesia, Europe, and even the distant
Americas, as we just saw.
The origin of the Latin word Missa, from where the English “Mass”
originated through the French Messe is obscure. Some claim it came
from the formula Ite, Missa est, pronounced by the officiant priest
at the end of the Mass, when the catechumens were dismissed. But the
fact is, even if this origin is accepted, that the word relates to
the idea of “emissary”, “envoy” (Latin missus, emissus, related to
“emissary”, “mission”, etc.). We believe that the word is also
esoterically connected with the name of the Messias and with the
idea of “Mystery”, and with feasts such as the Misias, the Mystery
rituals celebrated in honor of Ceres, in Greece and Rome,
commemorating the occasion when the goddess set out to rove the
whole world searching for her disappeared virgin daughter, Kore.
Again, the word Missa also connects with the Latin messis (“crop”) and
with the idea of Christmas, when the Saviour was sent down to us.
The mystic meaning is that the Celestial Envoys (Missi or Mystes)
were sent out to the four corners of the world at the occasion of
the Great Crop (Messis), that of Atlantis-Paradise. Ceres (Demeter)
is indeed a personification of Lemurian Atlantis (Paradise), the
“Virgin” (Kore) disappeared underground. And this memorable event
resulted in the diaspora of the Atlanteans, who went out as
emissaries (missus) and Messias to civilize the whole world. Space
does not allow a fuller exegesis of this complex subject here.
Some of these beautiful mandalas can be seen in certain sites on the
Internet, or in books such as:
- F. G. Newcomb; G.
Reichard, Sandpaintings of the Navajo Shooting Chant (N. York, 1975)
- M. M. Rhie; R. A. F. Thurman, Wisdom and Compassion, the
Sacred Art of Tibet (N. York, 1991)
- P. Rawson, The Art of Tantra (London, 1973)
The significance of the
mandalas is very seldom disclosed to non-initiates, particularly in
its connection with Paradise and it Holy Mountain (Meru). Their
simpler aspects can be studied in many books, the best of which are,
in our opinion:
- G. Tucci, Teoria e
Pratica del Mandala (Rome, 1969)
- D. Maclagan, Creation Myths (London, 1977).
In reality, the four corners of the World correspond to the Four
Continents (Eurasia, Africa, and the Two Americas). The fifth (and
virtual continent) is the one which corresponded to Atlantis, and
which is one that the geographers now call Australasia or, far less
exactly, Austronesia or Oceania. Australasia is the huge,
continental-sized extension of land to the south of southeast Asia
that sunk underseas at the end of the Pleistocene, when the sea
level rose by 100-150 meters in consequence of the melting of the
immense glaciers that covered the Temperate Regions then.
Canopus (Alpha Carinae) was the Southern Pole Star some 14,000 years
ago, while Vega (Alpha Lyrae), the main star of the Northern
Hemisphere, was the North Pole Star of the same epoch. This epoch
was the one of Atlantis' foundation, as we demonstrate elsewhere in
detail by means of strict, computer-based, astronomical calculation.
The Dravidas of that epoch - or, more exactly, the Atlanteans - navigated the high seas orienting themselves with the help of these
two Pole Stars, as well as by “Canopic Jars”.
These “jars” were indeed a clever form of sextant, compass and
clepsydra of excellent precision. Hence, the association of Atlas
and the Atlanteans with navigation and with the Pole and the twin
supports of the skies. Vega, the Northern Pole Star, is the star of
the Great Mother, while Canopus, its dual and counterpart in the
Southern Skies, represented the Great Father. These two Pole Stars - or Morning Stars, the stars of the dawn of humanity
personified as the Twins of everywhere, and particularly, of the
Navajo and the Tupi-Guarani Indians. In Egypt they were represented
by Hathor and Horus (the Elder), in Greece by Castor and Pollux, in
India by the Aswin Twins (Nakula and Sahadeva), in Sumeria by Enkidu
and Gilgamesh, and so on.
Webster gives its etym as derived from the Navajo
qohan, meaning “house”. More likely, this word is a corruption of
hogan, originally a Pueblo word derived from the Spanish fogon
(“oven”), by influence from hogar (“place”, “house”). A typical
Navajo hogan closely resembles a round oven, being built of
mud interspersed with wooden logs, in the form of a dome. The
Spanish fogon, fuego, hogar, foco, fogata, etc., derive from the
Latin focus, meaning “fireplace”. And this word ultimately relates
to the idea of “fire”, “volcano”. Ultimately, the words fogon (or
hogon, hogan) directly relate to "volcano" (Latin vulcanus or
Skeat links the Latin to the Sanskrit ulka, meaning “a fiery
meteor”. These, in turn derive from the Dravida ul-kan meaning
“inner fire”. The Sanskrit term is also related to loka (or uloka ),
meaning “place” and more exactly, “fireplace”. Moreover, the Skt.
ulka derives from the radix ush (“fiery”) of the name of Ushas
(Dawn). Now, Dawn or Aurora is an epithet often used to designate
Indonesia as the Land of Dawn. Dawn is also Vesta (note that radix
ush = vesh ), the Fire Goddess who killed herself in a fiery pyre.
As we see, all things fit to compound the myths, the symbols, and the
names in question, leaving little room for doubting their Hindu
origin. Indonesia is indeed both the Island of the Sun and the
Island of Fire, that is, volcanos, as we well know. As we commented
above, the Navajo hogans imitate the Whirling Mountain itself,
which they also call Hogan, that is, “Volcano”, as we just saw.
Another curious etym is that of “buccaneer”, derived from the French
boucan, meaning a type of oven or fireplace for smoking meat and
preparing barbecue. Actually, the word boucan is of Tupian and
Caribbean origin, and was adopted by the French buccaneers that
infested the region. The word “barbecue” is also related to boucan,
being derived from the Spanish barbacoa, itself a corrupted form of
bar-boucan, meaning an elongated boucan. Perhaps the name of the
boucaneers ultimately alludes to their Indonesian origins, rather
than to the fact that they used boucans for preparing barbecues. The
Indonesian Malays were much feared pirates in antiquity, and it is
far more likely that their name indeed alludes to their origin
there, in the land of the boucans (or boulcans = volcanoes).
Mount Kumeru, the Decapitated Mountain, is the mountain of the
Goddess, just as the Sumeru or Kailasa is the mountain of Shiva, her
husband. The Goddess is often called by names meaning “mountain”,
such as Giri, Girika, etc.. As “the Decapitated One”, Kali, the
Great Black Mother, is called Chinnamastaka, a term that means just
this same thing.
Mount Meru is the Mountain of the Fallen Sun. This mountain is the
same as the Biblical Mt. Sinai, a name that means, in Hindu tongues,
“the Decapitated Mountain”. The word is derived from the Dravida
Cin-ai or Cin-ay, meaning “The Mountain of the Fallen Sun (or of
Shiva)” or, yet, “the Mountain of the Decapitated Ancestors”. This
is the same etym as that of Mt. Kinabalu, the loftiest and the most
holy mountain of the whole of Indonesia.
Mt. Kinabalu is also considered the Mountain of the Dead Ancestors and
the site of the defunct Paradise. Mt. Kinabalu is literally a butte
(or “decapitated mountain”). The name derives from the Dravida, the
Holy Tongue of the region, and means “The Split Mountain”
(Kina-palu) or, yet, “The Mountain of the Dead Ancestors”
(Kina-paru), precisely the same as the etyms just given.
"Pure Land” (Shveta-dvipa)
is the name of the Hindu Paradise. This name also means “Evil-less
land”, precisely the same etym as that of the Yvymaraney, the
Paradise of the Apopocuva Guaranis of Brazil. Clearly these Indians,
like the Navajos, obtained their myths from primeval India and
Indonesia, in the dawn of times. More probably, these Indians
brought these myths along when they migrated to the Americas driven
by the cataclysm that wiped away their pristine Paradise. This
destroyed homeplace was called Aztlan (Atlantis?) by the Mayas, and
was said to lay in the Orient, the traditional designation of
Indonesia, the Land of the Rising Sun.
Please note that we do not claim that the Indians entered the Americas
via the Pacific Ocean exclusively. But their civilizers did, as
their own legends assert. The majority of the Amerindian peoples
probably came in via the Bering Strait, as the North American
anthropologists normally affirm. But a substantial part of the
Amerinds - particularly those of a white race such as the Incas,
that we discuss elsewhere - also came in via the Pacific Ocean and
Polynesia, all the way from the Indies, just as did the Polynesians
Another substantial fraction of the Amerinds came in, as Paul Rivet
and other anthropologists of note affirm, via the South Pole. They
came from Australia, into the southern tip of South America. In
fact, the Indians came in from several places and in several
migratory waves down the uncountable millennia. The unity of the
Amerindian races is an illusion, and these range from blond,
blue-eyed nations to coppery to nearly Melanesian and Negro types,
and from tall giants to pygmies.
The name Kalachakra (or “Wheel of Time”) given this mandala by the
Hindus and Buddhists also means “Black Whirlpool”, a name that
designates the Vadava-mukha, the giant maelstrom we discussed
further above. The Vadava-mukha corresponds to the giant caldera of
the Krakatoa volcano, the very one that destroyed Atlantis.
Definitely, the ancient Hindus and Buddhists associated their
destroyed Paradise with Atlantis. So did also the Amerindians, who
utilized the same symbolism as the Hindus in their esoteric rituals.
The name of Paradise changes from place to place, as it was often
translated into the local languages when the myths were incorporated
to their religious traditions. But the etymologies were preserved or
adapted, and correspond to the usual ones of Hindu myths and
traditions, names such as “Golden Island”, “Island of Fire”, “Island
of the Sun”, “Whirling (or Polar) Mountain’’, “Skull Mountain”,
etc.. In particular, the "Skull Montain" is the Mt. Calvary (or
Golgotha = "Skull", in Hebrew), the Holy Mountain on whose top
Christ was crucified, according to Christian traditions. The fact
that, as we saw further above, we find the identical myth in
Amerindian America, should be a sobering reminder of our common
origins in paradisial Atlantis (Lemuria), in the dawn of times.