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The All-Seeing Eye: Sacred Origins of a Hijacked Symbol

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by David Percival The Conscious Reporter

Is the all-seeing eye a symbol of divine omniscience or sinister influence? Today it symbolises control and domination by a shadowy elite, but its original use was quite different. This article traces its use and meaning back to ancient times, when it was a symbol of divine providence, powerfully representing spiritual truth and awakening.

Humanity is Losing Its Precious Symbology

The all-seeing eye is a powerful esoteric symbol which is widely misunderstood and misused today; few know what it originally stood for. It was originally symbolic of a higher spiritual power or God, a watchful caretaker of humanity or an awakened spiritual part within. But these days it has quite different associations.

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Today the all-seeing eye is more likely to be seen as an “Illuminati” symbol of control and surveillance by elites who to a large degree run the show on this planet at this time. This is because, over time, dark sinister forces have taken over esoteric symbols that for thousands of years were used to convey positive, helpful, uplifting spiritual messages and principles. The all-seeing eye is a prime example of how spiritual symbols have been hijacked and inverted. There has not really been much push to understand the symbol’s original meaning or to reclaim it for the spiritual significance it first conveyed.

This is the first in a series of articles I am presenting that will take a closer look at individual symbols, and delve into their origins and history to uncover their deeper esoteric significance. I am writing these as part of an effort to reclaim these positive esoteric symbols and restore them to their previously esteemed state.

Universal Nature of Symbolism

Symbolism has long been used by humanity to communicate ideas which are best crystallised in a compact form. As the well-known saying goes, a picture tells a thousands words! Esoteric symbols are alive today as they were in the ancient past, but there is much confusion surrounding their usage, history, intent, and meaning.

In ordinary life we use symbols to show at a glance important information such as traffic and road signs amongst many other symbols which are widespread and common today. Some other examples are corporate logos and certification statuses.

Symbolism is also especially used in the communication of non-physical, spiritual ideas, phenomena, and processes.

The all-seeing eye is one of the most powerful and widely used – and misused – symbols of all. In this article I trace its use from the earliest of times through to the 18th century, and show what the symbol originally stood for. My next article will examine its use from 18th century freemasonry onwards, and show how it has since been hijacked and misused.

Use of the All-Seeing Eye in Ancient Cultures

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Shiva’s third eye

India

We perhaps find the precursor to what eventually became known as the all-seeing eye in the Rig Veda, a sanskrit text thought to have been written over 3,000 years ago and one of the oldest known texts. In it there are many references to the sun and to other deities as being an eye in heaven, as an eye which reveals creation, or an eye which never closes.

One can liken this to being symbolic of a high level of awakened consciousness that advanced spiritual beings have and which an ordinary person can potentially attain.

The Hindu god Shiva has three eyes. The third eye or brow chakra eye is known as the eye of Shiva, possessor of all knowledge, which when opened will destroy anything it sees. Thus it is a symbol of knowledge which destroys evil and ignorance.

This again can be likened to an awakened higher spiritual part of a person which sees the truth of things and can then eliminate within a person’s psyche that which is opposite to and blocks divine consciousness from manifesting more. In this way it is a “creative destruction” of evil to transform it into higher consciousness.

Even in modern times, the eye of Shiva is used in jewellery to give protection against evil to its wearer and to gain wisdom and understanding from the world, from life events and from the self, for positive transformation.

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Buddha’s all seeing eye

Nepal

In Buddhism, Buddha is referred to as the Eye of the World. It is typical for temples in Nepal to display a graphic of the “Eyes of Buddha” as shown to the right – notice it includes a mark for the “third eye” as well. The eyes are also known as the eyes of wisdom and compassion.

Statues of Buddha typically show a dot in the mid-brow to represent the third eye.

Ancient Egypt

Eye of Osiris

Osiris

Hieroglyph for “Osiris” contains an eye

It is interesting to find that the Egyptian hieroglyph for their god Osiris contains an eye as shown below. So as with Hinduism and Buddhism we find a spiritual deity being represented in ancient times as an eye.

Eye of Horus

In ancient Egypt, the all-seeing eye was known as the Eye of Horus or the Eye of Ra and also formed part of the symbology of Wad-jet. Through various myths they were symbols of protection, healing and restoration. The left eye of Horus was said to be the moon and his right eye the sun.

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The all seeing eye is a major part of Egyptian spirituality / Image credit: Hajor

Horus was a falcon-headed sun god and it could be said the Eye of Horus was styled like an eye of a lanner falcon with its marking beneath the eye.
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Could the Eye of Horus represent parts of the brain used to manifest consciousness?

It is also very interesting to note that the drawing of the Eye of Horus very much matches the cross section of the mid brain where the thalamus, the pineal and pituitary glands are situated. The pineal gland is often said to be the “third eye” and a centre of spirituality and of spiritual insight, which can be developed in a person.

It’s as if the Eye of Horus could be a depiction of the thalamus as the eye ball with the corpus callosum the eye brow above and the medulla oblongata (brain stem) and the hypothalamus being the two markings below. If this is what they were drawing but calling it the Eye of Horus, does it suggest they considered the mid brain to be the seat of consciousness or even of divine consciousness or “Horus consciousness”? Horus being a sun god and symbolic of the universal Christ, a spiritual force which a suitably prepared person can merge with.

Middle East/Asia – Hamsa

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A Jewish Hamsa

In the Middle East the all-seeing eye has been known in the form of a hand-eye symbol called either Hamsa, Khamsa or Hamesh.

It’s the symbol of an eye in the palm of a hand, usually the right hand. Again it is a symbol of protection against the evil eye (bad luck caused by jealousy from others) and danger in general and can been seen as a good luck charm in that way.

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Detail from “The Divine World”
by Kahil Gibran

It is also known as the hand of Fatima in Islam and the hand of Miriam in Judaism. In India it is known as Humsa Hand. The Jains also have a form of the Hamsa in their symbolism with the word ahimsa (meaning non-violence) inside a wheel instead of where the eye would be. The Hamsa has been used for thousands of years and is still in use today as amulets, charms or wall hangings. It would seem to have its origins from ancient Mesopotamia with the hand of Ishtar being a symbol of divine protection although it did not contain the eye in the palm.

A more Christian-themed representation of the Hamsa is an art work called “The Divine World” by Kahlil Gibran, a Lebanese Maronite Catholic prominent in the early 20th century as a poet, painter, writer, philosopher, theologian.

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A Nazar / Image credit: Alborz Fallah

In Greece and Turkey they have something similar to the Hamsa which they call a “Nazar”. It is just an eye without the hand but it is used in the same way and has the same meaning as the Hamsa, that is, to ward off the evil eye, in the form of amulets or hanging ornaments usually made from blue glass.

Similarly in Buddhism there is the “eye of Buddha” amulet to ward off the evil eye.

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The enigmatic rattlesnake disc
Image credit: Dennis Vesper

The symbol of an eye in a hand also appears in Aztec and Mayan cultures and in Native American artworks although archaeologists are not sure what meaning it had for these cultures.

To the right is a Native American example referred to as “The Rattlesnake Disc” which was unearthed by a farmer in Moundville, Alabama in the 1800′s. Some archaeologists think its symbolism may have represented a portal to spiritual dimensions. It is the most elaborately decorated artwork found at Moundville giving rise to the belief it was of the most importance to its creators. Other artworks found there also contain the hand-eye symbol.

Ancient Ecuador

There is also the amazing discovery in 1984 in La Mana, central Ecuador, of an ancient artefact referred to as the Black Pyramid amongst 300 artefacts found there of unknown origin.

It is not known what culture they come from and the many objects found are baffling and seemingly out of place for this part of the world, such as an object designed as a hooded King Cobra of south east Asia. Cobras don’t exist in South America.

The so-called Black Pyramid is made from black stone with an eye at the apex. The stone has gold inlays forming 13 levels of “bricks” and an eye at the top. These inlays glow when under black light. Overall it looks like a representation of the great pyramid of Giza (7,470 miles away) and also amazingly just like the eye pyramid symbol used on the Great Seal of America and the US $1 bill.

It is also interesting to note the cobra artefact has another similarity with ancient Egypt where the raised cobra is associated with the Eye of Horus/Ra and Wad-jet in their protective aspects with it being worn on the foreheads of Pharaohs at the mid-brow right where the third eye is located. This symbolises the raising of a person’s energies to a higher vibration which internally leads to the awakening of psychic faculties such as those latent in the third eye.

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Images via YouTube user Wellington Marin
Illuminati Pyramid from Ecuador

It is not known how old these objects are as dating them has not been possible but they are thought to pre-date the known ancient cultures of the region. There is also a pre-Sanskrit type language (making it very old) engraved on some of the objects including on the underside of the black pyramid where there are also markings which appear to map out the stars of the Orion constellation, which the pyramids at Giza also map. The 4 pre-Sanskrit markings are thought to translate as saying “the son of the creator comes”.

Given the care taken to create this object it would seem to have been an important symbol for its creators although it is not clear how they interpreted it.

Ancient Greek

In the Hymns of Orpheus, the hymn To The Sun describes it variously as thus;

as an “eternal eye with broad survey” ;

and compares it to being the “Father of ages” ;

and as “Immortal Jove, all searching, bearing light” ;

then later as the “Great eye of Nature and the starry skies” ;

followed by “Faithful defender, and the eye of right”

So here we see in an ancient text of the western world similar representation of the sun like that presented in the ancient text of the east, the Rig Veda, as being an eye of the creator and an all-seeing never closing eye watching over and protecting the good.

Christianity

“The light of the body is the eye: if therefore thine eye be single, thy whole body shall be full of light.” (Jesus in Matthew 6:22)

“The eyes of the Lord are on the righteous, and his ears are open to their cry;” (Psalms 34:15)

“The eyes of the Lord are in every place, beholding the evil and the good.” (Proverbs 15:3)

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Does the Talpiot tomb display
an all seeing eye?

A possible first known use of the all-seeing eye symbol in Judeo-Christianity is the so-called “Jesus tomb” from 1st century AD discovered in 1980, which uses a similar symbol over the entrance to the tomb. Regardless of whose tomb it is, could this be a first known or early use of the eye-pyramid symbol in the Judeo-Christian tradition?

In Christianity, the all-seeing eye or “Eye of Providence” or “Eye of God” has been used as a symbol from at least the 16th century as seen in the following painting below which depicts a scene from Luke 24: 13-32 where after his resurrection, Jesus has supper with two disciples.

eye

16th century Christian painting – dated 1525
by Italian artist Pontormo (student of Da Vinci),
called Supper in Emmaus – depicts Luke 24: 13-32

The eye is inside a triangle, and surrounded by rays of light, with the triangle representing the holy trinity and the whole symbol meaning God’s omnipresence and all-seeing eye watching over creation.

Some claim that the eye in triangle symbol was added to the painting soon after the Council of Trent 1545- 1563, to conform with its canons and decrees but even if that is so that would still place its use in the 16th century.

In Alsace, France, the fresco painted above the altar of the Abbey Church of Saint-Jean-Baptiste (1763) shows a large example of the eye-in-pyramid symbol, with the rays of glory breaking through the clouds.

Another example is on the Aachen cathedral in Germany. It was originally built in the late 8th century under the Emperor Charlemagne and then enlarged in the middle ages with various other changes and updates along the way. It would seem the all-seeing eye symbol was placed on the cathedral in 1766 to mark the renovations done that year.

Note that these first two examples pre-date the founding of the Bavarian Illuminati (1776) although Freemasonry already existed in England and Europe by this time. Perhaps it was a masonic influence that saw these symbols used on these cathedrals yet it was not until about 1797 that masons are regarded as beginning to use the eye-in-pyramid symbol.

The eye-in-pyramid symbol also features prominently on the front facade of the Hartegbrugkerk Church in Leiden, the Netherlands, built in 1835-36. The Latin words “Hic Domus Dei est et Porta Coeli” translates to “This is the House of God and the Gateway to Heaven.”

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An all-seeing eye in the St. Jean-Baptiste Abbey Church / Image credit: Ralph Hammann

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Aachen Cathedral all-seeing eye / Image credit: Trexer

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Another all-seeing eye atop Hartegbrugkerk Church, Netherlands / Image credit: Robbiedoes

These are just some Christian examples of many that appear in Europe.

Conclusion

As we have seen, throughout history there has been a strong tradition across time, continents and cultures of using eye symbolism to generally represent a benevolent creator force watching over, helping and protecting humanity and to represent a spiritual part within.

In my next article I will continue to trace the use of the all-seeing eye symbolism over the last 240 years and reveal how it has been inverted and increasingly used for sinister aims in current times.

About Author:

David Percival has had a long interest in spirituality and the nature of reality and what makes people the way they are. He has helped teach meditation and esoteric spirituality subjects in the past and in coming to learn more about the hidden agendas to suppress and control humanity he has a keen interest in helping to turn a light on those things so others can learn more too in the hope for a brighter better future. 

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Occult

The remains of “witches” burned at the stake for killing children in the 17th century were found by archaeologists

The remains of "witches" burned at the stake for killing children in the 17th century were found by archaeologists 107

In the Polish city of Bochnia, archaeologists unearthed the charred remains of two women. The discovery was made during restoration work in the local market.

They are believed to have lived approximately 300 years ago. According to scientists, it is known that in 1679 three women were burnt in this place. So far, two skeletons have been found, but experts have no doubt that they will soon find a third one, according to Express.

Researchers believe that the victims were accused of witchcraft and murder of children. After that, they were probably burned in the city market. Such punishment was common in the Middle Ages, from the 5th to the 15th centuries. Historians believe that the public burning allegedly showed “witches” going to hell.

Archaeologists will continue to investigate the remains, but they have already stated that the women were buried right at the place of execution. According to experts, in that era it was customary: people convicted of such a crime could not be buried near the church.

According to historical sources, at least 13 women accused of witchcraft were executed in Bochnia. Before the execution of the sentence, they were kept in the neighboring town hall and, most likely, tortured in order to get a confession of their deeds. In addition, the archives contain the names and crimes of the “witches”.

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Which castle in Europe is considered the most mystical: you will be surprised

Which castle in Europe is considered the most mystical: you will be surprised 108

Many castles have survived in Europe, which to modern people seem incredibly beautiful and majestic. Their main purpose was to deter enemies if necessary.

That is why such factors as a good location, a moat, a rampart and other opportunities to repel potential enemies played a strategic role.

However, there is one architectural object that does not fit into the traditional framework.

Which castle in Europe is considered the most mystical: you will be surprised
Photo: Pixabay

The majestic is one of the most famous landmarks in the Italian region of Apulia. Moreover, it will not be an exaggeration to say that this is the most mystical castle in the world.

Unlike other mystical places, this amazing castle is not hidden from prying eyes behind the mountains and forests. On the contrary, it is visible from afar. You drive along the freeway and see it, towering on top of the hill.  It doesn’t matter that the name of the building is translated as “castle on the mountain”, only those who have never seen real mountains in their life can literally take the name Castel del Monte. 

It was built on a castle on the very spot where the Maria del Monte monastery was located until the thirteenth century, hence the first name of the building, which few people remember today – castrum Sancta Maria de Monte.

Today, crowds of people frequently visit Castel del Monte. For this, many thanks to the magical world of cinema and the Italian director Matteo Garrone in particular, because it was in the unusual halls of this monumental structure that he settled the characters of his “Scary Tales” – the king who raised a flea, and the princess whom the eccentric father married to a cannibal. Curiously, until the twentieth century, the castle was in an abandoned state, and shepherds spent the night there. 

Today, the architectural structure is in the care of UNESCO, as a result, it was cleaned and put in order, but the interior decoration of the halls was not preserved – for that reason, Matteo Garrone had to hastily fill the space of the premises with the props brought to the castle.

Garrone chose Castel del Monte for the film adaptation of the tales of the Neapolitan Giambattista Basile for a reason, because this place is incredibly mysterious. Although located 16 kilometers from the city of Andria, Castel del Monte bears the honorary title of one of the most famous medieval castles in the world, in essence it is not a castle.

The fact is that in the understanding of a normal person of the Middle Ages, a castle could only be built for one of two purposes. The first goal, it is also the main one – defense and terrain control. In this case, one or another lord erected a small fortress, as a rule, on the top of a mountain, which helped to repel enemy attacks, and at the same time to influence the situation in the region as a whole. The second task is a fortified place to live. Sometimes castles grew to the size of cities, take, for example, the same Carcassonne, but their powerful walls, again, made it possible to hold back hordes of enemies.

But Castel del Monte is not intended for defense at all. Where are the walls and the moat with water? Where are there any decent defenses? 

This place also seems to be of little use for life. Of course, even Walter Scott in his “Ivanhoe” wrote that the concept of “comfort” did not exist in the Middle Ages, but this castle, even by medieval standards, is far from the home of a self-respecting lord. It’s okay that all the rooms inside are connected to each other, but, most importantly, there is no place for a stable and there is no kitchen. 

So, most of all, the castle looks like a kind of an old art object, built for the sake of ideas, such houses are sometimes designed by modern architects who have received absolute carte blanche for the implementation of their creative ideas coupled with an unlimited budget.

This association is quite appropriate if you know who built Castel del Monte. The castle was built on the mountain by the Emperor Frederick II Staufen – a legendary person in all respects. He not only managed to win the title of Emperor of the Holy Roman Empire from competitors and lead the sixth crusade, but was also considered one of the most educated people of his time. 

He knew Greek, Latin and Arabic, founded a university in Naples, where not only Christians, but also Jews and Arabs taught, and this, by the way, is the height of tolerance by medieval standards. Frederick II as a whole was very far from Christian prejudices, here are illustrative examples: the emperor insisted that doctors study anatomy on corpses, and Frederick also had a warm attitude towards Fibonacci and even organized mathematical tournaments.

The emperor also had a penchant for writing: he is credited with writing an essay on falconry, and at his court he created a Sicilian school of poetry. At the same time, like all progressive people of his time, Frederick II was an admirer of a wide variety of mystical teachings, studied astronomy and astrology. 

With the personal life of the emperor, everything was also interesting, he earned the reputation of Bluebeard, because he was married four times, however, the church did not recognize his last marriage with his permanent mistress Bianca Lancia. Frederick II spawned a great many children – 20 legitimate, but for obvious reasons, no one scrupulously counted the bastards.

Historians still cannot solve the riddle of the Italian Castel del Monte, to which scientists have many questions

Castel del Monte was built by Frederick II from 1240 to 1250, that is, in the last decade of his life. The name of the architect is unknown, but many historians, not without reason, believe that he was the emperor himself – a painfully intricate design was the result. 

The fact is that, like many medieval mystics, Frederick was obsessed with the number eight, which symbolizes infinity, and it is constantly traced in the structure of the castle.

To begin with, the castle, when viewed from above, is a regular octagon, and an octagonal tower is erected at each corner of the structure. The shape of the inner courtyard of the castle also repeats the octagon. The castle has only two floors, the roof is flat, and the main entrance to Castel del Monte looks strictly to the east, because, as it was believed in the Middle Ages, the good news came from the east.

There are 8 rooms on each floor of the castle, all of them are connected to each other, so that Castel del Monte can be easily walked around the perimeter. The rooms are made in the form of trapezoids, and windows are cut through the walls. Toilets, wardrobes and spiral staircases are located in the corner turrets. 

By the way, the castle has a separate story with the stairs – usually in all castles they are “twisted” to the right, since this is optimal for the defense of the object, but in Castel del Monte, on the contrary, they are “turned” to the left, that is, the way it does nature, because it is to the left that the shells of mollusks or snail shells are twisted.

All rooms of the castle are exactly the same, the rooms differ from each other only in the location of the doors and the number of windows. In the decorative elements, the number eight again dominates: on the capitals of the columns there are eight leaves each, on the bas-reliefs in the rooms there are eight leaves or clover flowers.

Another interesting thing is that direct rays of sunlight fall into the windows of the second floor twice a day (with the first floor, this rule works only in the summer), so many assume that the mysterious castle is nothing more than a huge sundial, and at the same time astronomical device. 

In addition, twice a year, during the summer and winter solstice, sunlight is evenly distributed among all rooms on the ground floor. This, of course, is also no coincidence, so many historians suggest that the first floor of Castel del Monte is a kind of analogue of the solar calendar.

Here’s another curious reason for thinking – twice a year, on April 8 and October 8, the sun’s rays pass through the windows of the castle into the courtyard in such a way that they fall strictly on the part of the wall where in the time of Frederick II a certain bas-relief was carved, now lost. 

Well, and to make everything quite difficult, it is worth remembering that October in the thirteenth century was considered the eighth month of the year.

The castle bears the title of the most mysterious at all because there are many ghosts or other manifestations of mysticism

Frederick II died before he could finish the construction of the castle – the building of Castel del Monte was completed, but the interior decoration was not completed to the end. After the death of the emperor, there were legends in Europe that Frederick did not die, but disappeared in an unknown direction in order to reform the church and establish universal brotherhood and peace.

 A certain symbolism is seen in this, because the octagon, repeated in the structure of Castel del Monte, in the Middle Ages symbolized the transition from the world of the living to the kingdom of the dead, and at the same time the union of heaven and earth.

Everything is very simple here – a square was considered a symbol of the earth, a circle was a symbol of the sky, and an octagon was an intermediate figure that signified both unity and transition. However, scientists far from mysticism believe that the repeated use of the octagon is simply a reference to the Dome of the Rock in Jerusalem, because Frederick II saw the dome over the cornerstone during his crusade.

Historians are confused by the dubious architecture of the object – in such a castle there was not a single chance to hide from an armed attack. No protective mechanisms were used during the construction.

In addition, the building itself boasts the ideal shape of a real octagon. The castle has also 8 turrets.

Scientists did not fit the theory that this castle was used by noble people in order to rest there after hunting. Castel del Monte looks too monumental and luxurious for this.

Some historians suggest that the purpose of the mysterious castle was to comprehend the secret sciences

Castel del Monte has encrypted and biblical symbols. The fact is that the castle has exactly five drainage basins and five fireplaces, many associate this with the phrase of the Baptist John from the Gospel of Luke:

“I baptize you in water for repentance, but the One who follows me is stronger than me; I am not worthy to bear His shoes; He will baptize you with the Holy Spirit and fire.”

 So, it is easy to assume that Castel del Monte was for Frederick II an analogue of the temple, built according to his personal project, and this fully meets the ambitions of the emperor.

By the way, this hypothesis is confirmed by another curious detail. If you look closely at the entrance to the castle, you can see a giant letter F encrypted there. If inside the tomb of Frederick II, associations with the pyramids would be inevitable, and so Castel del Monte seems to be a kind of personal portal of the emperor, erected according to his plan and in his honour. 

At least when you stand in the courtyard of the castle and, with your head raised, look at the sky, imprisoned in an octagon of powerful limestone walls, even the most inveterate materialists have a feeling of belonging to the medieval magical tradition. 

The energy of this place is special, in the style of those “Scary Tales” by Matteo Garrone.

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Occult symbolism of the 2020 Vatican nativity scene

Occult symbolism of the 2020 Vatican nativity scene 109

On December 11, the Vatican unveiled its 2020 nativity scene in St. Peter’s Square. And as soon as the red drapery covering the stage was removed, the crowd found a towering, brutal and totem-like angel Gabriel watching them, along with an astronaut and a masked executioner (yes, those guys who kill people on death row).

Let’s say the applause after the opening was “polite”. Here are some images of the nativity scene.

An ominous angel looks down at the crowd while Jesus remains in the red cloth for a while (not sure why). Behind the figures is a neon light that should probably look like mountains on the horizon. However, at first glance, it looks like a lightning strike in a nativity scene.

Occult symbolism of the 2020 Vatican nativity scene 110
An astronaut and a masked executioner are also included in the nativity scene.

In a press release, the Vatican Governorate announced that the nursery “is intended to be a sign of hope and faith for the entire world, especially during this difficult time due to the health emergency related to COVID-19.”

But this did not bring “hope and faith” at all. In fact, almost all observers hated it.

Occult symbolism of the 2020 Vatican nativity scene 111

It is as if the Vatican purposely created something so ugly that devout Christians hate the play depicting the birth of Jesus. Satanists couldn’t have done better.

Ugliness with weapons

This nativity scene, titled “Monumental Christmas”, was originally created between 1965 and 1975 by students and teachers of the F.A. Grue art school in Castelli, Italy. The original work contained over 50 pieces, but only a few were selected for the Nativity scene at the Vatican, and they chose the horned-masked executioner.

The “Monumental Nativity Scene” is considered a tribute to the world-renowned pottery works of the Abruzzo region and gives a postmodern twist to the classic nativity scene.

In a conversation with a local newspaper, Italian art historian Andrea Chionchi asked if it was “a nightmare or a masterpiece.”

“Forget the sweet face of the Madonna, the tender radiant incarnation of the Child Jesus, the paternal sweetness of Saint Joseph and the pious miracle of the shepherds. For the first time in the middle of the colonnade, Bernini, the Vatican erected a work of the sixties in a brutal postmodern style.

The figures resemble the masks of the ancient and ferocious Samnites, the ancestors of the Abruzians, who professed a pantheistic, animistic, fetishistic and magical religion, somewhat reminiscent of the Andean goddess of fertility, Pachamama.

Castelli’s “Nativity Scene” is an outdated work, the product of a strongly ideological art school. The work offers a depiction of Castelli ceramics that is definitely not true, given that this remarkable art is renowned for its formal elegance and refined, subtle decorative inspiration, which are completely absent here.

References to Greek, Egyptian, and Sumerian character sculptures suggest a liberal historical-critical method of interpreting Scripture. Liberal Bible scholars have hypothesized about various aspects of the Bible as an adaptation of pagan cultures, and not as a result of divine revelation.

Although “ugliness” is subjective, this nativity scene almost tries its best to be as unpleasant to the eye as possible, which in turn is unpleasant to the soul. At least one could say that this scene is anti-Christian. I mean, who’s actually going to pray to this thing? You just can’t. And that’s kind of a target for the twisted minds behind this thing.

Moreover, in addition to its general ugliness, the nativity scene also contains many symbols and historical references that convey a rather egregious message: it is actually an anti-Christmas scene.

Anti Christmas

Usually in the center of the nativity scene is the baby Jesus. However, in this case, Baby Jesus is essentially a random toddler who just stands there and looks like a giant cork.

Occult symbolism of the 2020 Vatican nativity scene 112

WORSHIP ME

The focus of this play is not Jesus, but rather the angel Gabriel. It is surrounded by a massive halo, while Jesus still stands there like a giant cork. In addition, the angel rises above everything on a ribbed pillar. The overall shape of this column closely resembles an important symbol of Ancient Egypt: the Jed Column.

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Right: A Jed Column dedicated to the goddess Hathor.

Jed is a common symbol in Ancient Egypt believed to represent the god Osiris, or rather his spine. While this symbol probably has an esoteric meaning in relation to the chakras (which are said to be based on the spine), the Jed also has a phallic character and is associated with fertility rites. In fact, the “erection of the Jed” was an important ceremony in ancient Egypt.

The erection of the Jedi ceremony is to symbolize Osiris’ triumph over Set. During the ceremony, the pharaoh uses ropes to lift the pole with the help of the priests. This coincided with the time of year when the agricultural year began and the fields were planted. This was only part of a 17-day celebration dedicated to Osiris. In general, the ceremony of the erection of the Jed personified both the resurrection of Osiris and the strength and stability of the monarch.

– Ancient origins, sacred symbol of the Jed Pillar

Did the Vatican trick its believers into witnessing the Jed Ascension ceremony? One thing is for sure: the Egyptian influence of this den sit well with what is immediately behind it.

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Immediately behind the nativity scene is the obelisk of St. Peter (originally from Egypt).

The general plan of the Vatican is Egyptian magic in plain sight. The phallic obelisk (representing Osiris and the masculine) faces the womb-like dome of St. Peter’s Basilica (representing Isis and the feminine). The same exact layout can be found in various power centers of the world, including Washington, DC.

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In Washington DC, an obelisk (Washington Monument) faces the dome of the US Capitol.

In Egyptian magic, the union of masculine and feminine principles (Osiris and Isis) gives birth to a “star child” (Horus). From an esoteric point of view, this star child is a powerful magical energy.

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The hieroglyph representing Sirius, the most important star of occult symbolism (read my article on this here), consists of three elements of the Egyptian trinity: an obelisk, a dome and a star.

So, the Vatican has an obelisk and a dome. Where is the star completing this trinity? It is there, but you have to look from above.

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The Obelisk of St. Peter is located right in the center of the eight-pointed star, also known as the Ishtar Star.

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The eight-pointed star also adorns the Christmas tree that stands next to the nativity scene this year.

Speaking of cosmic things, the Vatican nativity scene also depicts an astronaut. Why? God knows.

Occult symbolism of the 2020 Vatican nativity scene 119

It seems that the astronaut is holding / giving birth to something. There is also an eight-pointed star on the helmet.

Given the fact that this figure was created between 1965 and 1975, this may be a reference to the 1969 moon landing. But why in 2020 did the Vatican choose this thing to stand next to Jesus?

It is even more incomprehensible why an executioner in a horned mask is standing next to Jesus?

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Even he thinks to himself: “What am I doing here?”

In ancient times, executioners carried out death sentences for lawful convicts by chopping off their heads. In some cases, they wore grotesque masks with dark and menacing features to further intimidate prisoners, depersonalizing them as a person. In short, it is an odd figure to be placed next to the newborn baby Jesus, especially considering the fact that Jesus himself was ultimately sentenced to death.

Apparently this guy is here to represent the “Vatican’s opposition to the death penalty.” This is a rather weak argument that makes little sense. I mean, I’m pretty sure the Vatican is also against methamphetamine. Should they also add a methamphetamine dealer to the nativity scene?

In the scene literally called “Christmas,” this horned figure represents death. This is the complete opposite of “Christmas”. I don’t think Satanists would have done better by desecrating the scene depicting the birth of Jesus.

Finally

In a sense, this year’s nativity scene is a sad reflection of 2020. This is a collection of expressionless and socially detached figures who do not interact with each other, standing under the neon lights of phones and computers.

It also reflects how the occult elite has raised their ugly head this year, poisoning every aspect of our lives with their toxic program. Through their outspoken anti-Christian demonstration, the elite sought to prove that its toxic ideology was also ingrained in the Vatican.

Although the Monumental Nativity scene was created several decades ago, it was chosen for the Christmas scene in 2020 for a special reason: it contains certain symbols, conveying a certain energy. Like everything else that has happened this year, this scene demonstrates the control of the elite and the demoralization of the masses.

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