Chronos Apollonios' "Home On Olympus"
Another of my own questions is whether the frequent ancient artworks of the Egyptians showing suns rays coming down in divisions, particularly when about to stike the tip of an obelisk, refer to this selection and separation of constituents of sunlight... and whether the supporting symbols may help unlock this mystery further...
These seem particularly prevalent during the reign of Akhenatun and his "religious reformation", "Atenism", a time that produced many artworks which seem to depict highly technical equipment: voltaic stacks, wireless batteries, vacuum tubes, and numerous others as convincing and compelling as the artworks of futuristic devices from the tomb of Hathor in Dendera and some of artifacts of the tomb of Tutanhkamen (Tetankhamen).
Some renditions seem to resemble the diagrams of fluid mechanics as the rays strike obelisks and then divide.
The rendition of particles as sylized hands may demonstate the particles which are involved, and the use of hands also allows for reference to the chirality of the particles. The abbreviation of four fingers in the artworks may represent the conglomeration of four neutrinos to form a graviton, as per Martin Ruderfer's Theory, and perhaps another particle in connection with them.
The hand has also been used in amazingly diverse mystical circles to make reference to Nitrogen, probably also in a quantum state.
Solar output of nitrogen spectra and neutrinos may be relevant issues, and perhaps solar gravity.
"Pharoahs of Egypt" (Jaquetta Hawkes) describes this image of a the combination of the solar deity, Re and falcon-headed Horus, known as "Re-Horakhty", showering blessings as "sunlight in the form of flowers", which are detailed at left.
A lotus-encircled object at the bottom of the scene isn't different than such obvious devices as the ancient Egyptian (wireless) battery and Tutanhkamens' nebris".
This stirring vignette may go much further to explaining the ancient understanding and utilization of forces from the sun. The color scheme, repeating sets of four, is astonishingly common in long rows of characters that are often found in the borders of ancient Egyptian scenes. Such a quartet may correspond to the theoretical nature of gravity as a set of four neutrinos that develops from Martin Ruderfer's theory of the photon as a neutrino pair.
Another aspect that bears a resemblance to gravity does so in a roundabout way, but indeed the material from Gurudas on flower essences describes how the flower Shooting Star (Dodecatheon species) has a shape which would look like various ways of visualising gravity particles if we could do so yet- in other words, a vortex structure.
Such a reference as this may also refer to the specific forces with which sunlight contributes to creating homeopathic flower essences.
We may be, incidentally, at no loss to find the corresponding depictions in ancient Mesoamerican artwork as well.
This interesting work at right, "Sobek, god of a city called Crocodilopolis" (Lionel Casson, "Ancient Egypt", pg. 73), may be a great unifying clue, because it has elements of both
magick mirrors and
skull oracles (ancient communications and ancient artificial intelligence, repectively), but unites them as some fashions of Egyptian magick mirrors do, with solar themes.
As we would surmise from the sythesis of Horus, a bird symbol of magnetism, and Ra in the theme above, ancient understanding of solar energy easily entails understanding its magnetic aspects.
There may be details to this image that signify that harmonic effects are being utilized.
Perhaps it might also be contributory that there sometimes seem to be excessive amounts of aromatics in various places, recalling Vishudananda's materialization of perfumes, perhaps implying quantum matter. That's even more likely if it's involving ectoplasm. For one, the seemingly inexhaustible aromatics of certain woods, perhaps something that lent additional power to the sterile feild generators that may be represented by rosaries, rituals, and traditional garb of nuns and priests by donating additional free electrons or electrically charged matter; for another, no matter how many times money goes through the washer, it still seems to smell like money... where is this matter coming from?
A plate from "Sympathetic Vibrations: Reflections on Physics as a Way of Life" by K.C. Cole (pg. 251) showing something his friend Bob Miller shows people on "Bob's Light Walk".
The caption reads, "The circular spots of light that seep through the irregular spaces between the leaves of a tree are images of the sun. Once you start looking, you'll see them everywhere".
Well, maybe. Either I have terrible luck hunting, or they only seem to happen under certain conditions, and maybe even certain trees, for which one wisely runs for a book of magickal trees to look up what else is going on with the particular species. The picture makes them seem hard to photograph, but perhaps they are those columns of multi-colored circles that appear everytime a video camera captures a ray of sun just right. Perhaps I should credit that to the camera being a resonant cavity... After all, Vishudananda did have the light reflected from outside to indoors...
I can tell you that if you get to see them come in through certain window coverings, such a venetian blinds and maybe those that have a pinhole in them, what you get isn't these gold coins of light flying everywhere like something out of a myth of Zeus (hmmm...) but a regular stack of them in a row, looking like esoteric structures like the chakra system or the Tree of Life. Maybe the slits in the blinds act like coherence gratings...
I can also suggest that the sun throwing out numerous holograms- two-dimensional ones?- seems not only magickal in the pastoral sense, but may be a very real clue to what the ancients are trying to tell us about strange forces they could harness from sunlight to make miracles.
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