In recent years the discovery of an ancient previously unknown culture
at Jiroft in South West Iran has made possible the development of
clearer
insight into the tradition of 'stargates' in Near Eastern early bronze
age culture.
www.heritageinstitute.com...
www.cais-soas.com...
Jiroft, probably to be identified with the City of Aratta known from
Sumerian texts, was like Sumeria itself almost certainly a Dravidian
culture,
maintaining trade links with the Harappan culture of the Indus valley,
in a sense the missing link between Sumerian and Harappan culture.
The Sumerian legend, Enmerkar and the lord of Aratta, establishes that
Aratta had highly skilled and much sought after craftsmen, which the
Sumerians
sought to employ for their own usage in constructing a ziggurat after
the fashion of that at Aratta, which was dedicated to Inana and were her
cult
was pre-eminent, thus the Goddess and her tradition seemingly were
derivative of Aratta.
etcsl.orinst.ox.ac.uk...
This is important in that Inana/Ishtar held primacy in the cosmological stargate tradition;
Stargates of Iran., page 1
http://www.abovetopsecret.com/forum/thread871055/pg1
....the queen of heaven and earth, the goddess of the numerous me,
holy Inana, has brought to Aratta, the mountain of the shining me
Inana, the lady of all the lands, has surrounded Aratta, on its right
and left, for her like a rising flood. They are people whom she has
separated
from other people, they are people whom Dumuzid has made step forth from
other people, who firmly establish the holy words of Inana
Inana was ruler of the mountain were the sun rose and set, thus ruler of
birth and death, the mountain in an astrological sense being the
zodiacal
light, in a natural sense mountains of the distant horizon, in a
symbolic sense the great ziggurat of Aratta...more on this here;
www.abovetopsecret.com...
Thats the basic cultural context then, in considering the iconography of
Jiroft and Proto-Elamite culture as concerned with stargates, this
rudimentary jug is a good starting point;
At first glance, and second, that could easily be seen as an Egyptian
representation of the Akhet symbol, the sun between the two mountains of
the
horizons, and with good reason, for it is a Proto-Elamite version of the
same.
One takes the same key iconography then and considers it in a slightly more complex context;
There again one finds the 'two mountains' representation, albeit without
solar disc, set beneath an arc/handle which will be seen to be
correspondant
to the arc that the sun traverses across the sky, with interwoven
serpents either side, which will be seen to correspond to means of
passage.
To confirm this is correct interpretation, one considers an example were
the two mountains of the horizon are represented in more naturalistic
form
beneath the arc/handle, in conjunction with the 'Bull of Heaven'
dominating both horizons, this astrological symetery being common as
seen in
subsequent examples.
as well as the importance of the serpents in facilitating transition across the axis of the horizon;
In achieving mastery over these twin serpents a hero figure or Deity
established himself as a Lord of the two horizons, Lord of Life and
Death, birth
and resurrection.
Inana having supreme rule over such concepts could actually assume the form of the twin serpents herself;
A furthur critical aspect is the symbolic form that the mountain of the horizon could take;
As in Andean culture and others, in 2D representational form this is a
stepped construct, with the two mountains of the horizon also lending
themself
to the singular motif of the diamond stepped form were they are seen as
symetrical opposites, with the cross denoting centre as a derivative, as
in
the chakana.
This basic stepped form, as seen in this Elamite bronze concerned with
rites of sunrise, represents the mountain of the horizon, in the same
manner an
Andean Huanaca does of similar form.
These then are the elements which one should be looking for in
connection with the representation of the cosmological
stargates/portals, and thus;
It can be seen that the portals are placed in the context of a general
architectural setting, and thus archaeologists somewhat lazily conclude
this is
merely representation of the general city, however it must be noted the
Egyptians contextualized their Doorways of the Horizon of Heaven in
terms of a
Palace Facade, and that this can be seen as representative of the
Heavens, thus the mundane reflects the Heavenly;
www.abovetopsecret.com...
A furthur intriguing consideration is that the symbolism involved lends
itself to application in terms of traversing time and space via worm
hole
travel, it is as if the symbolism of the religious premise was created
to accomodate this extension of meaning.
The natural premise for the mystical mountain of transition at the
horizon was the zodiacal light, which is simply diffuse particles
reflecting along
the ecliptic plane when the sun is beneath the horizon, this ephemeral
vision taking symbolic form in the mighty physical construct of the
ziggurats
and pyramids, the vision made manifest
These portals then in the cosmological sense are concerned with
transition across the horizon, via serpents, creating cyclic transition
between life
and death;
edit on 13-8-2012 by Kantzveldt because: (no reason given)
