In looking at Pre-Buddhist into early Buddhist iconography of Tibet with regards to the premise of stargate cultural elements i'll be basing this
along the same lines that i outlined here in the closely related, as shall be seen, model for the 'Stargates of Iran'
The premise for this model is of a stepped/layered thought system that formed the basis for these cultures, involving progression from natural
observance, though to metaphorical/sexual/mythological interpretation, then to cosmological with upper levels involving advanced
The basic marker then for civilizations that were developed along this model is that of the stepped symbol and that is were we shall begin for
In Tibet the stepped motif is called a 'Chorten', it is the most common element seen on pre-historic rock art, it's basis as in all 'stargate
cultures' is that of the zodiacal light triangular cone seen before sunrise or after sunset in conjunction with the ecliptic plane, it has the
asociation of being the portal into the upper Heavenly realms or the Underworld, this can be seen in the example below.
It will be seen that often Chorten were seen in terms of a triad, especially in the early Buddhist period associated with the three main principles of
such, this is due to identification with three principle points of the horizon were the zodiacal light or mystical mountain will be seen, the two
solstice points and the midpoint of the equinox, in Sumeria these are clearly identified as the three main portal points across the horizons, this
would be the same in Tibet.
As the mountain directly equates with the ecliptic plane, then the sun, moon and plants will also be seen to rise in conjunction, and the basis for
the Buddhist stupa was from earlier depictions of the sun and moon above the Chorten, often seen in totemic form.
A lot of the images i shall post shall be from this excellent site on Tibet archaeology investigations, much of this is very recent and hitherto
A fine example of the chorten triad is seen on a gold death mask from the Guge burial, each with a solar symbol above it, which would go on to become
This leads on to the fact that the portal points across the horizons were the key element in afterlife belief, in Tibet this in conjunction with a
prehistoric tradition of standing stones;
The alignment of the standing stones and buildings of Upper Tibetan necropoli hints at a high level of astronomical discernment. At minimum, the
rising and setting of the sun over the course of the year was plotted at these sites. More complex lunar and sidereal calculations may also be
incumbent in the spatial arrangements of the necropoli, but this is difficult to establish in any scientifically verifiable manner. In addition to the
erected stones, many sites have long slabs of stone embedded in the ground edgewise to form a grid pattern covering as much as 800 m²
The necropoli feature quadrate arrays of standing stones aligned in the cardinal directions or in the intermediate directions. These concourses
contain between 100 and 3000 miniature stelae or menhirs. Just west of each field of standing stones is an above-ground building aligned in the same
manner. These specially built structures functioned as mortuary temples and tombs.
Given the intricate architecture of the Upper Tibetan necropoli, we can surmise that a complex range of ritual activities were once conducted at
them. Some of the Tibetan archaic funerary texts I have worked on may provide an indication as to the nature of these functions, but this is still
speculative. The texts do indeed mention long-stones (rdo-ring) and erected stone registers (tho) used in the mystic reconditioning of the souls of
the deceased, as a prelude to their entry into the ancestral afterlife
According to the pastoralist communities of upland Tibet, the pillars erected within quadrate enclosures emerged at the very beginning of the
universe. While this may be quite an exaggeration, the oral tradition does signal great age. Timbers removed from inside a wall of a mausoleum built
with an analogous enclosure have been dated to circa the 5th century CE, furnishing us with a scientific perspective on which to build. Some walled-in
pillars are liable to extend much further back in time perhaps to the first half of the first millennium BCE
One sees then an interconnected system of pathways and grids upon the landscape, in conjunction with pathways across the Heavens.
The primary figure associated with this beleif system is that of the Khyung, the flying eagle/man/demon, a figure that was also seen in connection
with the 'Stargates of Iran'
The outstretched arms of the figure can often be seen holding a serpent, the importance of this is that as seen in Iran, this is the means of
transition across the horizons, serpents function as passageways or wormholes, if considered in terms of astro-physics and translation across event
The third highly important element is that of the Dorje, which is a thunderbolt weapon, this is often seen describing the cardinal directions in
symbolism, and it may have played some role in opening them and facilitating transition, in connection with the flying Khyung it is highly reminiscent
of the 'flood-strom' weapon of the Sumerians which i wrote of here;
It's power would be associated with serpents;
In early rock art enigmatic little figures are seen in conjunction with the Dorje;
The author of the archeaology site refers to these figures as 'mascoids', but it is difficult to say what they actually represent, in some regards
they are similar to the Australian Wandinja.
admin note:unless specifically indicated otherwise all the images in this thread are copyright John Vincent Bellezza
and sourced from
www.tibetarchaeology.com... asianart.com... asianart.com...
edit on 2-13-2013 by Springer because: (no reason given)
edit on 2-13-2013 by Springer because: (no reason
edit on 2-13-2013 by Springer because: (no reason given)