New Discoveries in Magical Egypt 2

 

In 2008 an unorthodox team of career artists, art and architecture historians, and comparative mythology scholars was assembled for a ten-year research project to study ancient aesthetic canons and related forms of visual expression used in Ancient Egypt. The results of the project are documented in the new season of the “Magical Egypt” documentary series.

HEADLINE: The team has discovered a previously unrecognized visual language, a type of visual cipher, ingeniously hidden in the hieroglyphic reliefs, statuary, and architectural motifs of ancient Egyptian temples and tombs. The message encrypted in this visual language is scientific in nature. It records and transmits the core principles of a very sophisticated ancient science.

The discovery holds serious implications for art history as well as scientific history.  These discoveries show an unprecedented marriage of art and science that allows central scientific principles to be communicated visually, in a trans-lingual mode of transmission. 

Just as surprising as the sophistication of the ancient science is its focus - the artwork transmits beautifully encrypted schematics of brain architecture and other biological systems: most having to do with either the mystery of consciousness or the mystery of reproduction. 

The more examples the team compiled, the more it seemed that the entire culture was a giant expression of an eternal story told through art and symbol.  The story serves as an allegory, or to use a more modern term, a dynamic model of the mysteries of consciousness itself. Both in the way it schematized the key biological systems that generated various aspects of consciousness, and then associated to them, through the use of mythos and other descriptors, specific behaviors, tendencies, affinities and other operational, functional information. A brilliant transmission of both the form and function of the key biological components that produce consciousness.

Historical Precedent For Biological Correspondence in Art

A precedent for biological correspondence in art was set in the Oct 10th, 1990 Issue of JAMA when Dr. Frank Meshberger published the theory and the visual proofs that Michaelangelo had depicted a brain in his painting “The Creation of Adam” on the ceiling of the Sistine Chapel. When the painting is compared with or overlaid upon its “biological correspondence”, in this case, the human brain in sagittal view, we see that not only does it demonstrate a sophisticated knowledge of the physical attributes of the brain, but marries symbolism to each location to suggest the function of the various physical systems. A particular emphasis is placed on Sophia, goddess of divine knowledge, emerging from the midbrain, diencephalon complex at the area where the thalamus, third and fourth ventricles, and choroid plexus are located. This seems to be the place, at the juncture or nexus of our circulatory, nervous and endocrine systems, that is repeatedly pointed to in the ancient science as the source of consciousness. Thus in these artistic traditions, it is associated with a specific kind of divinity. This technique, once we were alerted to its presence, became visible in the sacred art of other cultures as well. Eventually leading to recognizing this technique, and indeed, this ancient scientific message, in use from the very earliest expressions of sacred art.

A new kind of Rosetta Stone: The decoder ring of “biological correspondence”

The discovery of the Rosetta Stone was a profoundly significant discovery for early Egyptologists who were trying to understand how to read hieroglyphics.  Were these mysterious shapes supposed to be read as pictograms, or does each one represent a phonetic sound, as in our modern alphabet?  Or was it the expression of a form of communication alien to us and unlike anything we might suppose or recognize?

Because the Rosetta Stone duplicated an identical message in three languages, it eventually gave linguists the ability to cross-analyze and compare the Egyptian text with the better understood Greek and Hieratic languages, whose meanings were known.  Through this linguistic reverse engineering, it was discovered that hieroglyphs can act as either phonetic “letters”, as we use letters, each representing a sound, that strung together, creates a word, but they can also simultaneously act as pictograms that signify a word, name or important idea.  Or they can act as a symbol that carries a vast range of information and meaning, bearing an intricate and dense web of cognitive associations.  

The Rosetta Stone discovery alerted linguists and Egyptological researchers to the fact that the hieroglyphs and reliefs can hold multiple registers or layers of meaning at once.  The discovery of a hidden visual encryption technique that we are calling Biological Correspondence, is significant in a very similar way to the Rosetta Stone because it allowed for the discovery of a previously unrecognized layer of communication, and at the same time, for the discovery of an unrecognized message that is being radiated through the art, statuary, and architecture of Ancient Egypt.  

The discovery demonstrates an unexpected and overlooked extra register of communication - a hidden language that expressed the deepest most central scientific principles known to the ancient culture. This message has been hidden in plain sight through a simple lack of awareness of “how to read” the visual message encrypted into the art and architecture.

The message that is being transmitted through this newly discovered mode of visual communication may go a long way towards answering some of the biggest outstanding questions of egyptology and human history.  The message is not theological - it is scientific.  And perhaps more interestingly still, the science it expresses is an anomalously sophisticated one that calls into question everything we thought we knew about the ancient intellect.  The ancient science seems to be focused in a direction that is a notorious blind spot for modern science.  The mysteries of consciousness.  

DISCOVERY #1 Eye of Horus correlation with the human lyric system.

Gary Osborn made this discovery at the end of 1997. It came to him while he was making a coffee one morning about the diagonal postions of the two internal chamber of the Great Pyramid, and he had the insight that the two chamber lined up with the pineal and pituitary glands. He then superimposed a lateral graphic of the brain over a N/S cross0section graphic of the Great Pyramid, as did his friend Mark Dunn, and the next day they noted that the King’s Chamber lined up with the Thalamus and the Queen’s Chamber lined up with the Pituitary gland. It was just a step from there for him to look closely at the Eye of Horus symbolism and how that matched the brain and the thalamus and pineal and pituitary glands,

It was first presented Gary's website in 2003.

See here:

http://garyosborn.moonfruit.com/#/eye-of-horus/4573273634

And also here with the Great Pyramid;

http://garyosborn.moonfruit.com/#/chamber-gland-theory/4573544142


DISCOVERY #2: Ram sphinx terminals correlate to coronal view of human brain stem:

One of the very first examples of visual encryption that the team discovered was made by Brad Klausen.  A direct representational correspondence between the Ram Sphinx statuary at Luxor and Karnak and the “coronal” or “front facing” view of the human brain stem.

Each aesthetic feature that makes up the ram sphinx and terminal has a direct correspondence to one of the articulations that make up the brain stem.  Not only do the major shapes and outlines correspond, but upon closer study, there is no detail in the statuary that is not directly representative of a key component of the human brain stem.  There is an aesthetically ingenious modelling that at once acts as beautiful symbolic art and at the same time as a perfectly accurate and very sophisticated model of one of the most important biological systems involved in human consciousness.   

Click below for an excerpt from Magical Egypt series 2 that demonstrates the morphological correspondences between the human brain stem and the ram sphinx statuary and terminals.  


Discovery #3: Brainstem depicted in ancient Babylonian and Sumerian sacred art

The very distinctive shape, location, and positioning of the trigeminal nerves in relation to the pons and brainstem was the next clue. Note the uncanny similarity between the trigeminal nerves and the placement of the hands in the iconic Ishtar and Innana statues from Babylon and Sumeria. Also, note the obvious correlation between the pons of the brain stem and the torso of the statues. And of course, the merged legs and even the articulations of the headwear.


Discovery #4: The Venus of Willendorf

After tracing this visual technique of biological correspondence in ancient statuary back to Dynastic Egypt, Babylon, and Sumer, the next discovery was even more startling: The earliest example of ancient sculpture yet found is the Venus of Willendorf - a small figurine that is called a “fertility” icon. There are a number of very obvious deviations from normal human body attributes that indicate either an extremely poor understanding of anatomy or basic sculptural techniques on the part of the ancients, or they signify something else. The same anatomical “mistakes” are repeated in versions of this statue found throughout Europe. These seemingly “mistaken” features, while deviating from a correct human form, are a remarkably close fit to another body - the brain stem and diencephalon.

Baffling features like the head with no face, and the horizontal stripes across the torso of the statue, the position and scale of the arms, all correspond quite dramatically to the articulations that make up the human brain stem and thalamus. Note the correlation between the horizontal stripes across the pons and those on the torso of the Venus.

Discovery #5: Statues of mummiform Osiris conceal correspondence to brain stem

The horizontal ridges that sweep around the pons appear to be a “wrapping” of cloth, visually suggestive of the wrapping practice seen in Egyptian mummification. After Brad Klausen’s discovery in the Ram Sphinx Statues, the team discovered an even more iconic sacred statue that used the technique of biological correspondence to relate more information about the brain and brain stem. This time in Axial view. The mummified appearance of the pons eventually clued Chance Gardner into the distinctive design of statues and reliefs portraying the mummiform Osiris and the mummiform god Ptah. When we compared these figures, the correlations seem to be self-verifying.

Click through the images below to see the correspondences:

Figurines of the god Osiris show the arms drawn up to create the shape of the pons. Note the fused legs, corresponding to the medulla, and the correspondence between the face and the area above the pons where the mammillary glands are located. Also, note the exact correspondence between the placing of the uraeus and the location of the infundibulum. This correspondence was also present in the Ram Sphinx statuary. The shape and area outlined by the rising olfactory nerves is a close correspondence with the ceremonial atef crowns.

Once again, there is a layer of mythos that may hold some information about the function of the areas modeled. Curiously, the brain stem, thalamus, and pineal gland are all active during REM and dreaming states, symbolically associating them with the “underworld” of sleep and dream states. The association of Osiris with the underworld and the afterlife may indicate that important information about the brainstem’s role in the dream state may be encrypted into the Osiris mythos.


Discovery #6: Diencephalon and Amygdala schematics hidden in sacred symbolic art

The next series of correspondences that came to light was discovered by researcher/author Gary Osborn. The visual technique is the same, but in this case, represents a view of the brain from the axial view, ie. underneath, looking up. At this cross-sectional view of the human brain, we can see the diencephalon, hippocampus, amygdala, corpus callosum, pineal and pituitary glands and the lobes of the thalamus, each creating a very distinctive complex of outlines. This is the mechanism that connects the brainstem and the hemispheres, as well as the conjunction point of the nervous and circulatory systems and the ventricles. This distinctive complex of discreet recognizable shapes is seen mimicked in the ceremonial motifs of the atef crown and in the stylized atef crown worn by the God Khnum. The point for point correspondences make it difficult to attribute to imagination or confirmation bias. As either motif could be used as a totally functional reference model for this centrally important area of the brain, and these components that all contribute critically to the experience of consciousness.

The brain schematic depicted in ceremonial Atef crown motif was first discovered by Gary Osborn. Read more about Gary’s groundbreaking research at http://garyosborn.moonfruit.com/eye-of-horus/4573273634

Click below for a slide show of the correspondences, or to view an excerpt from Magical Egypt series 2:

 

Discovery #7: Brain Schematics in 3D architecture of the classic Egyptian pylon temple.

Another example of encrypted schematics hidden in the aesthetic canons of ancient Egypt. The classic Egyptian temple pylon was itself revealed to be another ingenious schematic that depicted the brain architecture central to consciousness. In this case, the view of the brain is the “coronal” or front view.


The pylon is a masterpiece of both symbolic and direct geometric correspondences with the coronal view of the left and right hemispheres, brain stem and diencephalon all matched with distinctly shaped corresponding geometry reflected in the architecture of the temple and iconic entrance door. The two rhomboidal “mounds” on either side are connected by a bridging architecture made up of the door and the symbolic corniche above the door. Ubiquitously located at the central focal point of every pylon temple is the hieroglyphic symbol of the winged disk. The entire pylon structure acts as a very sophisticated template or reference model of the structure and articulations of the hemispheres and brain stem, seen in the coronal view, with a special emphasis on the mirrored wing shapes made by the ventricles. The lines, positions, symbols, and underlying geometry all indicate the locations of important brain components when overlayed with one another.

Once again, we see mythos or legend associated with the various parts of the temple that may offer insight into the function of the part of the brain indicated, or into the overall operation of the subject of the schematic. This architecture symbolically associates with the timeless idea of the newly born sun, rising between the primordial mounds. A symbolic allegory for the arising of a certain kind of consciousness from the interaction of the two hemispheres, brought together, or unified, or accessed, in the case of door symbolism, by passing through a threshold of sorts - the central door that unites the two hemispheres.

The sun rising between the mounds is also symbolically associated with the equinox or solstice alignment of the sun, and indicator of the start of or midpoint of grand celestial cycles. Time and mind are in this way associated, through a knowledge of the start, mid and endpoint of the celestial cycles. And a further connection is hinted at between the cycles of the cosmos and the timeless but ever-shifting nature of consciousness itself.

Not only do the position and proportions of the door correspond to significant parts of the brainstem, but when a cross-section of the brain is seen at the right depth, we can even see that the ventricles, which are of central importance to brain function and consciousness, are the morphological inspiration for the icon of the winged disk, itself said to be symbolically rich symbol associated with higher, or unified consciousness and with the continuity of consciousness after physical death.

This method of encrypting a kind of “meta-message” into temple architecture, once this MODE OF EXPRESSION was understood, eventually led to recognizing the same technique, and presumably the same ancient science in the earliest Eastern temples. In a case very similar to Egyptology’s reluctance to acknowledge the idea of biological correspondence, the meta-message of the ancient Taoist temples expresses the same centrally important information, in the same way - biological correspondence. And although it would seem that this discovery could represent an important new expansion of our understanding of ancient history and ancient intellect, as well as being able to chart the direction of informational flow - the path this anomalous science has taken as it migrated from culture to culture, this meta visual language is not officially acknowledged by Eastern historians.

This series of discoveries was made by series writer/animator Chance Gardner, in the process of researching material for the new ME2 series.