From Heaven to Earth

by Michael Tsarion
I am the all-seeing eye of Horus, whose appearance strikes terror - (Egyptian Coffin Text)
There are all sorts of theories as to why priesthoods arose to plague our world, but most accounts take it for granted that priests and religion are required and even essential.

It's also commonplace to note how important symbols are in religion. Indeed, what would Christianity be without the enigmatic and colorful leitmotifs found throughout the books of Genesis, Job and Revelation, etc?

Think of the striking account of the creation in six days, or of Satan's temptation of Eve. Think about the story of David and Goliath, the Battle of Armageddon, of Mary and Joseph's escape to Egypt, of Jesus' birth in the humble inn and visitation of the three wise men, not to mention the accounts of Judas' betrayal in the garden, the torturous journey to Calvary, the crucifixion on Skull Hill, internment of Jesus' body, the resurrection and descent of the Holy Spirit, etc, and you'll see what I mean. It's very thrilling and captivating stuff.

To the Gospels and other official texts we can add uncanonical works such as the enigmatic Book of Enoch and the Gnostic Gospels with their descriptions of the fallen angels, female Demiurge and alternative accounts of the creation. All of it boils down to images in one's head stimulating powerful atavistic emotions.

Throughout my work on Astro-Theology, Druidism and ancient tree worship, I show that most of these accounts and stories derive from the movement of planets and luminaries in the heavens. They constitute part of a stellar or sidereal mythos which has an enormous effect on consciousness. It's time to find out why.

As I show in Trees of Life, from the earliest epochs it was the circumpolar region - the stellar "Garden of Eden" - which was of supreme importance for stargazers. A great many iconic motifs found in sacred texts derive from the stellar mythos. This is particularly true in North-Western climes where the unsetting stars were always seen revolving in the night sky, guiding and orienting every facet of terrestrial existence.

Even when historical events or persons are mentioned, we often find cosmological motifs superimposed in one way or another. This is the case in a great many Biblical passages, such as that of Jesus walking on water, riding on an ass to Jerusalem, his preaching on a mount, his temptation in the wilderness, his recruitment of 12 apostles and talk of a Kingdom of Heaven, etc.

Later images of Jesus favored by the clergy are also replete with astrological motifs. The same goes for depictions of the Virgin Mary and Mary Magdalene. The former is often seen standing among the clouds with stellar symbols nearby.

In my Female Illuminati program I review the ground-breaking discoveries of David Talbot, whose documentaries Thunderbolts of the Gods and Symbols of an Alien Sky, support my research and throw new light on how the symbolic archive came about. He also tracks religious symbology back to events which occurred above our heads. Talbot's discoveries strongly substantiate my own research on ancient religion and belief. (Here fore more...)

Although they don't explore the subjects I do here, Talbot and his colleagues believe that in the distant past, before the building of the Great Pyramid, a great event took place in the heavens. It was a rare conjunction between Saturn, Mars and Venus. The close alignment of these celestial bodies in our solar system caused the sky to be lit up by serpentine electrical discharges, frightening to all who beheld them. Many thought the "sky was falling" and that the world was coming to an end. They trembled and recoiled in shock.

In ancient times our ancestors considered the planets and luminaries to be actual gods and goddesses. Comets were commonly considered utterly malefic, bringing the wrath of God or the evil one. It is not by accident that the Book of Genesis speaks of a great flood which brought wreck and ruin to the earth. Indeed, the Bible is full of comic catastrophe and mayhem. Even when Jesus perishes on the cross, we read that lightning rent the heavens and storm clouds darkened the sky.

According to Talbot, the plasma discharges emitted by the three planets, although terrifying, were also something of a spectacle. Day and night, for as long as the conjunction held, all sorts of bizarre and captivating images formed in the sky above.
Where did the captivating motif of the Androgyne come from?
What does it signify?
For the viewer, it was as if the gods themselves were speaking to them. It was as if they were directing the heavenly play, sending messages to the world. Consequently, everyone watching was entranced and attentive. Not a single phenomenon was missed. To do so was to offend the gods. Moreover, the spellbound observers were not into doubting what they saw. Interpretation was certainly required, and would come in time, but while the cosmic drama unfolded, the prevailing attitude was one of awe.

What must be emphasized is that most of what passes for sacerdotal symbolism - the type filling holy scriptures - originates with these and other celestial events. As I show in Article III, our notion of the "evil one" Satan, derives from the intrusion of highly destructive comets.

Many mythological motifs figuratively denote cometary activity. This is certainly the case for Celtic and pre-Celtic lore. Stories of boiling oceans, warring giants, fiery chariots and magical weapons all refer back to the spectacle of devastating comets. Images of a cackling witch on her broomstick, of blue Shiva's long mane, of a translucent goddess figure with bright long flowing hair, also have their origins in sightings of comets streaking across the heavens. The writhing fiery dragons of China and elsewhere, not to mention the custom of fireworks displays also commemorate the intrusion of terrifying comets.
The legends of almost every ancient nation speak of the raging comet which tore asumder the earth and made signs in the sky. The terrifying events traumatized the consciousness of one and all. Often the comet was personified as a monstrous giant with ghastly weapons and destructive powers.
These events, being traumatic, have been repressed and forgotten, although social customs assist us in processing atavistic memories of trauma-causing prehistoric events.

In my program Catastrophism, I provide a list of symbols that entered the sacerdotal and mythic archive after the great conjunction. These include:
  • The scythe or sickle, as seen in the hands of Death & Father Time
  • The lance, as carried by a heroic knight
  • A spear, as thrown by Saul
  • An angel with swirling sword, as in the Genesis story
  • The luminous magical sword, as in the case of Excalibur and earlier Irish legends
  • The great cauldron or chalice, as found in grail legends & Irish mythology
  • The thunderbolt, associated with Zeus and other deities
  • The vajna, as seen in Tibetian iconography
  • The trident, as associated with Neptune and Shiva
  • The scepter, as held by royal figures
  • A boat passing across the sky, as in the tale of Ra
  • A dragon ship, as used by Norsemen and other mariners
  • A beast with many heads, as in the mythical Hydra
  • Bat-like forms with misshapen faces and wings
  • Gargoyle-like figures, as seen on churches and mansions
  • Spectral or ghostly beings, which became the angels of religion
  • An arrow, as in the saga of Robin Hood
  • A knife-wielding hero slaying a beast, as in Mithra and bull
  • A sling, as in the case of Lugh and David
  • Mask-like images, as seen in theatrical masks (Comedy/Tragedy)
  • A medusan visage with serpentine emissions (discharges)
  • The tongue of Kali
  • A necklace of skulls
  • A red-haired witch or demoness
  • Great wings spread with solar-disk
  • A human figure with winged feet
  • A phoenix-like bird in flames
  • Great plumes, as seen in Egypt & on Prince Charles' crest
  • A feathered headdress, as seen on Maya chiefs
  • A feathered serpent (bird & snake combined), as seen in S. American iconography
  • A baleful bird of prey
  • A double-headed eagle, as appears on heraldry and flags
  • A white dove, as used by pagans and later by Christians
  • A goat-like figure, as in Mendes, Pan or Satyr
  • A sphinx-like creature
  • A lion with the sun in its jaws, as seen in alchemical texts
  • Other hybrid animals, as seen in Bestiaries the world over
  • Phallic images, as in the guise of Priapus and Min, etc
  • Copulating figures, as seen on Indian sculpture (Shiva-Shakti)
  • Lady riding a bull, horse or other creature, as in Europa
  • Woman alongside a swan, as with Leda
  • Horned figures such as a stag, as in the Irish forest god
  • Fallen angels, as in the tale of the Watchers
  • A tower blazing and falling
  • A tower with flaming eye at the top (as in Tolkien)
  • A fiery torch, as in the palladium (see Statue of Liberty, etc)
  • A great tree, later rendered as the Tree of Life
  • A many spiked crown, as worn by nobles and royals
  • A miter, as worn by priests
  • A unicorn, as it appears in tales and on heraldry
  • A great horse with fiery mane, as in England's chalk effigy
  • A flying man with great wings, as in the tale of Icarus
  • A fiery chariot, as in the cases of Phaeton and Lugh
  • Various astrological signs (Scales of Ma'at, etc)
  • A Turkish scimitar, as used by Shriners for a symbol
  • Various Tarot symbols (Hanged Man, Wheel, Hermit, etc)
  • Various letters of the ancient alphabet, as in X, Z, S, O, etc
  • A spiral or letter G shape, as seen on Masonic emblems
  • The runes, such as the Sig Rune
  • Petroglyphs of odd-looking beings and stick figures
  • A throbbing heart, as with the Sacred Heart of Jesus
  • An overflowing fountain, as found in civic squares
  • A pavilion or great canopy, as seen in heraldry
  • A celestial city, as in stories and fairy tales
  • A large web or net, as on Masonic architecture & money
  • An enormous spider, as seen on the Nazca plain
  • A great scorpion
  • A raging lion
  • Four riders on horseback, as in the Book of Revelation
  • A great forest hunt (fountain & white stage, etc)
  • Great procession or riders in the sky (as in Odin's charge)
  • Parting of towering waves (Moses & Red Sea, etc)
  • A rainbow, as spoken of in Genesis
  • A giant with massive club, as with Dagda/Bootes/Hercules, etc
  • A man on a cross or stake
  • A figure hanging upside down, as in the cases of Peter & Odin
  • A great portal or tunnel, as to the Otherworld.
There are many more iconic symbols associated with the great conjunction. As they appeared they were quickly recorded, and even afterwards assigned priests were careful to commemorate the heavenly drama as best they could. In fact, it became a central duty to not only faithfully record the heavenly signs, but to interpret their meaning.

I believe this is the origin of what we now know as priestcraft. One has only to examine the bizarre and outlandish writings of Jewish scribes, as found in the Torah, Talmud, and other rabbinical works, to confirm this statement.
Lord Krishna seated on the great Mucalinda, representing the serpentine mother goddess. But where did such striking imagery come from?
One need only examine verses in the Mahabharata, Ramayana, or Old and New Testaments to further confirm the point. Approaching these scriptures from a sidereal and aesthetic point of view corroborates the controversial thesis.

For example, the Angel of Revelation, with tongue-like sword protruding from its mouth, or verses describing the opening of the seven seals and design of the New Jerusalem. It all makes perfect sense when we know what's what.

Indeed, with the coming of the celestial extravaganza it was as if an old world was passing away, making way for a new aeon. The Gospel Jesus speaks of the coming aeon or age and the end of the old one. Before he was born, wise men spoke of a great star in the heavens pointing the way to his birthplace. And what are we to make of the striking story of John the Baptist's beheading and of Constantine's lofty vision on the Milvian Bridge? Were these merely historical events on earth, or something more abstract, etched into the consciousness of people the world over?

In the Book of Revelation we have the motif of the seven seals. In Judaism there are the seven candlesticks (or so-called Menorah), and in the Book of Ezekiel we read of great wheels in the sky.

In the Pentateuch we hear of the cloud that covered the tabernacle, the Ark of the Covenant around which King David danced, and the Brazen Standard erected by Moses in the wilderness. We read of the patriarch's ascent to the mountain top, his dialogue with Jehovah at the s0-called Burning Bush, and the revelry of the Israelites around the golden calf. Where did it all come from, and are we to take it all literally? Did Moses really receive two great tablets with the commandments, and did he smash them in anger before the backsliders?
Moses ascends the great mountain to meet God. The mountain, and burning bush, are wreathed in flame. Thunder crashes and lightning bolts fall while God's hand carves out the Commandments on the two tablets carried back to the Chosen People. (See Exodus 19.) Where do these captivating images, and others in the Testaments, originate? What was "the cloud of the Lord and the Tabernacle?" The physical Exodus is believed to have occurred sometime between 1700 and 1000 BC. Is this when the great conjunction occurred? Or was it before this period?
What are we to make of Britain's megalithic earth-zodiacs, Peru's Nazca Lines, Ireland's Newgrange, England's Stonehenge and Avebury, and Egypt's Sphinx and pyramid complex?
What are we to make not only of the plethora of strange glyphs and icons covering the world's sacred structures, but of the innumerable sagas such as those found in Scandinavian mythology about Thor's hammer, the raging Midgard Serpent and eight-legged steed of Odin? What of Yggdrasil, the great ash tree transfixing the center of the world?

Did the letters of our alphabets also derive from the shapes lighting up the theater of the sky? Did the ancients incorporate some of the symbols in their iconography, wall art and tattoo designs? What about the serpent sign, bull's horns, cloven hoof, labyrinth, swastika, Celtic spiral, shamrock, Om (Aum) symbol, Chinese chrysanthemum, 1,000 petalled lotus, English twin roses, rose window, pentagram and hexagram? Where did they come from, and why so auspicious?

What are we to make of Masonry's cardinal symbol of the "Blazing Star?"

Why do comets and fiery luminaries appear on Masonic tracing boards and other friezes? Why is the severed head of John the Baptist one of Masonry's most important emblems, and why do Shriners symbolize their order by a Turkish scimitar?

As shown elsewhere, I believe the hexagram (or Star of David) was adopted by the world's priesthoods for good reason. It symbolizes their role as interpreters of the sacred signs. The priest became the official transmitter of the messages of the gods. He was to preserve and venerate the signs from the heavens, which he did in his temples, cathedrals and churches, and his innumerable rites and ceremonies.
The starry drama has also been preserved in the legends and myths of antiquity, those relegated to the "Mythological Cycles" by myopic academics. It's a pity they haven't bothered to tell us where it all comes from and thereby bring an end to exploitative religion.

To the narrow-minded academic, Arthur's pulling Excalibur from the stone is just a charming myth. Robin's winning of the silver arrow, again just mythology. Culhulainn's act of stepping into the sea, making it boil, just an old wive's tale. Lugh's magic lance, Balor's evil eye and Beowulf's combat with the monstrous Grendel, just unimportant legends. It's all contemptuously explained away by the groveling airhead at the front of one's class.

Jonah in the whale's stomach, the crumbling walls of Jericho, the combat of St. George and the dragon, and blood-dripping scimitar of Kali. Nothing more than fairy tales.

The minotaur, centaur, harpy, siren, evil troll, ugly ogre and screeching banshee. Yarns to frighten the kids, right?

Should a solar eclipse occur today, people flock out in droves to stare and marvel. The ancient conjunction was 100 times more thrilling and impactful. It not only transfixed the hordes, but struck fear into their hearts. The traumatized onlookers were never the same again. Regrettably, their shattered condition allowed them to fall under the dominion of the priests who assigned themselves the role of intermediaries and interpreters.
Just as certain symbols disturb the psyche, so do others help to maintain sanity. The priests cunningly discovered these iconic motifs and used them to win converts. For Christians, the symbol of the cross is of paramount importance. It is certainly not merely a symbol among many for believers who cling fervently to it and other symbols, unaware of why they need them or where their nightmare fears come from.

Why do Christians fear Satan, the fires of hell and bottomless pit? What is hell and the bottomless pit? Do they really exist? When Christians envision Satan as a being with horns, tail and black bat's wings, do they ever ask why and how these odd motifs came together? Did someone actually see the devil, and come back to tell us all about it?
When we look up to the sky and see faces in the clouds, does it awaken deeper atavistic memories of a time when the whole world not only looked upward, but felt that the gods spoke to them?

When Christians pray they tend to look upward toward the sky. Why? Additionally, why do Christians end their prayers with the word Amen?
Mankind has always scrutinized the heavens, looking for guidance, omens, meanings...The study of the Sun, the Moon, stars, eclipses, day and night, began well before recorded history – Joanna Marine Woolfolk
When we sit in darkened theaters watching images on a screen, does it ever occur to us to ask why we enjoy it, or why the phenomenon became a billion dollar industry? Do we ask why George Lucas-like space adventures are among the most popular and captivating movies, and why Space Invaders, the first video game, became so universally popular?

When Luke Skywalker and Darth Vader go at it with their light-sabers, or when Captain Kirk argues with God on a strange barren planet, amid a megalithic temple, do we stop to wonder if such things ever happened historically?

Obviously, the answer is in the negative. Nevertheless, the reasons are now revealed. We need no longer puzzle over why our brains are divided and why our fixations and obsessions exist. We now know why we become enslaved to the hoary icons purveyed by sorcerers, the priesthoods of delusion and death.
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And lest thou lift up thine eyes unto heaven, and when thou seest the sun, and the moon, and the stars, even all the host of heaven, shouldest be driven to worship them, and serve them, which the Lord thy God hath divided unto all nations under the whole heaven - Deuteronomy 4:19
The epic story would end here, if it were not for the role of women.

Following the celestial light show, women became important because not everyone agreed with the interpretations offered by the male priests, as to the enigmatic signs and symbols seen. As time passed, consensus weakened and eventually breakaway groups decided that the priests were not speaking accurately or truly. After all, a great many images of female figures appeared above everyone's heads. What did they signify?
The conjunction (merging) of Mars and Venus was likened to an act of celestial copulation. Is this where the ancients derived their concepts of androgyny, biunity, tantric union or Hieros Gamos?
It was at this point that the first female cults took shape. Generally speaking, their members believed that the gods and goddesses in the heavens above had transmitted messages that pertained almost exclusively to women. At least the onus was on gifted, insightful women to correctly decipher the ambiguous signs in the sky.

In my opinion this is the origin of the society known as the Great Royal Wives, the most illustrious and powerful cult in ancient Egypt, As I mention throughout my work, this society constituted the true Dragon Court or Cult of Venus. (Here for more...)

Eventually, Egyptologists recognized that it was their aristocratic seniors who ruled on which male prince was to become pharaoh. Likewise they decided which noble would not ascend to the throne or wield power in the land. It was their members who "drew the rightful prince from the sacred river," who anointed the pharaoh to be, and set in place the foundation stones of each and every temple on the Nile. Even to enter into a temple meant passing through a portal signifying the goddess.

It is this group - the original Female Illuminati - which ruled from behind the obvious thrones of the world. They established or authenticated other priestess cults of the world. They had their own initiation processes, special rites and ceremonies, observatories and methods for charting the heavens.

Crucially, it was priestesses of these societies who confirmed that the movement of the moon was indeed calibrated to the menstrual cycle. Ergo, most of their cult rituals were carefully synchronized with the movement of the moon through the thirteen signs of the zodiac. (Etymologically, the terms mens, omens, meaning, mental, month and moon are connected.)

They believed that the great conjunction, although completed, set a precedent. Henceforth it was imperative that the sky was closely observed. And since the luminaries appeared to be synchronized to the female generative cycle, men were no longer to be placed in charge of stargazing. Clearly, it was the prerogative of Sophic women.

Consequently, it was decided that it was women's exclusive duty to revere and obey the counsel of the constellations, stars and luminaries.
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Article 7