Ziggurat- This is a massive structure in the form of a pyramid with stepped terraces and a flat platform on top.
Ziggurats are found throughout Mesopotamia, as well as in some parts of Mesoamerica. These are gigantic and amazing structures, especially considering the fact that at the time of their construction, human technology was very primitive. And the construction of one ziggurat took a colossal amount of effort.
It is believed that it was the Mesopotamian ziggurats that served as the model for the Egyptian pyramids, and this may well be true. But unlike the pyramids, which served as a burial place, ziggurats were the site of various rituals. The main ceremonial site was at the top of the structure.
Historians suggest that the Sumerians and Babylonians viewed ziggurats as houses of the gods, and access to them was limited to mere mortals. As a rule, towers are located in large temple complexes. There were also houses for priests, service personnel and pens with sacrificial animals.
Ziggurat. The mystery of origin.
The most interesting and mysterious thing is this. After the Babylonians and Assyrians built their massive ziggurats, the Mesoamerican culture built their step pyramids, which were remarkably similar. The fact is that any interaction or even contact between these cultures is very unlikely. Apparently, buildings of this form arose spontaneously, and completely independently of each other in different regions of the world. From the lush jungles of Central America to the remote deserts of Iraq.
Why does the Lenin Mausoleum look like a ziggurat and why are Shinto shrines dismantled every 20 years to be built in a new place? “Theories and Practices” continues with the “Enlightener” award with an excerpt from the book “Anatomy of Architecture” by Sergei Kavtaradze, in which he talks about the early architecture of Mesopotamia, Ancient Egypt, Japan and Islamic countries.
Mesopotamia
Architectural structures, as we know, were erected already in primitive times: simple huts, primitive huts, as well as megaliths - menhirs, dolmens and cromlechs. However, the history of architecture as an art, when added to the net benefit something else, some additional meaning and desire for beauty, began much later, although also a very long time ago, several thousand years ago. It was then that the first state formations arose in the fertile valleys of the great rivers - the Nile, Indus, Tigris and Euphrates. There are easily longer and wider rivers on our planet, but it is unlikely that they will be able to surpass these four in importance in the development of civilization. Their fertile shores provided bountiful harvests, which allowed some of the inhabitants to break away from everyday worries about food and become warriors or priests, scientists or poets, skilled artisans or builders, that is, to form a complex social structure, in other words, a state. The earliest of such states appeared on a narrow strip of land between the beds of two rivers, the Tigris and Euphrates, which is called Mesopotamia or Mesopotamia.[…]
Of course, the peoples whose states, successively, dominated Mesopotamia - first the Sumerians, then the Akkadians, then the Sumerians again (“Sumerian Renaissance”), and then the Babylonians, Assyrians and Persians - built many grandiose buildings in their capitals. Not a single large city could do without royal palaces and temples to the ancient gods. The remains of their vast labyrinths are carefully studied by archaeologists. However, it is difficult for architectural historians to work on this material; only the foundations remain of the adobe buildings, and one can only speak about their artistic language based on plans.
The Great Ziggurat of Ur. Iraq. OK. 2047 BC © rasoulali/iStock
A huge stepped structure was erected in the city of Ur by local kings Ur-Nammu and Shulgi in honor of the lunar deity Nanna. The ziggurat was “restored” under Saddam Hussein, with approximately the same degree of respect for the original as was the case with the Tsaritsyno palace complex in Moscow.
However, one type of structure has not survived so badly and, moreover, still retains its influence on the art of architecture. Of course, this is a ziggurat - a stepped pyramid with a temple on top. In essence, a ziggurat is a pure “mass”, an artificial mountain of mud brick, lined with baked brick. By purpose, it is also a mountain, only in a sacred sense it is much more significant than its natural relatives. If you live on a flat earth under the dome of the sky, then sooner or later the thought will appear that somewhere there is a vertical connecting the earthly world with the heavenly world. The Axis Mundi, the Tree of Life or the World Mountain.[...] If there is no such vertical - a mountain or a tree - nearby, but there are the resources of a powerful state, it can be built. Actually, the biblical story about the Tower of Babel, the construction of which led to the emergence of language barriers, is not at all metaphorical to the extent that it might seem to a modern person. The ziggurat, including the later one, the Babylonian one, really led to heaven, of which there were several at once - three or seven. Each tier of the building was painted in its own color and corresponded to a certain firmament, planet or luminary, as well as metal. At the top, a temple was installed - the house of God, and at the foot and sometimes on the steps themselves, dwellings of priests and warehouses for offerings were built. As we see, even thousands of years ago architecture felt itself not only as an applied art, but also as a “fine” art, representing a vertical connecting heaven and earth. The issues of “pure beauty”, abstracted from semantic content, were also not forgotten by the ancient architects. The walls of the ziggurats were not simply lined with baked glazed bricks and then painted, but were also divided into three-dimensional niches and blades, which made the surfaces clearly rhythmic.
Ziggurat of Etemenanki in Babylon. Iraq. Architect Aradahheshu. Mid-7th century BC © Dr. Robert Kolderwey
According to scientists, the Etemenanki ziggurat is the same biblical Tower of Babel, because of the history with which we are forced to learn foreign languages. Reconstruction of the outstanding German archaeologist Robert Kolderway, who discovered the location of ancient Babylon.
The compositional solution found in ancient Mesopotamia turned out to be very convincing. Since then, the pathos of the “stairway to heaven” has not ceased to be found in a variety of places of worship around the world, including in cases where atheism becomes a religion.
Pieter Bruegel the Elder. Tower of Babel. Wood, oil. 1563 Kunsthistorisches Museum, Vienna
Pieter Bruegel painted the Tower of Babel more than once, and each time he imagined it as a stepped structure.
The concept (of the Palace of Soviets - S.K.) is very simple. This is a tower - but, of course, not a tower rising vertically, for such a tower is technically difficult to construct and difficult to dismember. This tower, to a certain extent, is like the towers of Babel, as we are told about them: a stepped tower with several tiers... This is a bold and strong stepped aspiration, not an elevation to the sky with a prayer, but rather, indeed, an assault on the heights from below. (A.V. Lunacharsky. Socialist architectural monument // Lunacharsky A.V. Articles on art. M.; Leningrad: State Publishing House "Art", 1941. P. 629–630.)
Pyramid of Kukulkan. Chichen Itza, Mexico. Probably 7th century © tommasolizzul/iStock
The Pyramid of Kukulcan is located among the ruins of the ancient Mayan city of Chichen Itza. The structure combines the features of a ziggurat and a pyramid. On the one hand, it is an artificial mountain, connecting earth and sky with nine steps. At the top, like the Mesopotamian ziggurats, there is a temple. On the other hand, this structure has internal secret rooms, which makes it similar to its Egyptian counterparts. The Pyramid of Kukulkan quite accurately played the role of a huge stone calendar. For example, each of the four staircases leading to the temple consists of 91 steps, that is, together with the upper platform, there are 365 of them - according to the number of days in the year. This building can also be considered the world's first cinema, albeit with a monotonous repertoire: on the days of the spring and autumn equinox, the stepped edges of the pyramid cast a jagged shadow on the side walls of the stairs, and as the Sun moves, this shadow crawls along the parapet like a snake.
Mausoleum of V.I. Lenin. Moscow, Russia. Architect A.V. Shchusev. 1924–1930 © Maxim Khlopov/Wikimedia Commons/CC 4.0
Shape of the Mausoleum of V.I. Lenin in Moscow, without a doubt, goes back to the ziggurats.
Ancient Egypt
Not so far from Mesopotamia, in North Africa, another great civilization appeared at about the same time - the ancient Egyptian one. It was also marked by the construction of grandiose structures, very similar to ziggurats - pyramids, but, unlike their Mesopotamian counterparts, the material here was often not mud brick, but stone. The earliest of these buildings were also stepped: Egyptian architects did not immediately find the ideal form with smooth edges, so close to the modernist tastes of the 20th century. The main thing is that not only the shape and material, but also the meaning of these artificial mountains rising in the sands of Egypt was completely different from those of the gigantic buildings of Mesopotamia. The pyramid is, first of all, a funerary monument. Actually, the idea of a composition tapering upward was born in Egypt, when several flat stone tombs were placed one on top of the other (the Arabs - now the main population of this country - call them “mástaba”, that is, “bench”). Such tombs, hiding burial chambers underneath, were built in the deserts along the banks of the Nile long before the appearance of huge stone structures, so the pyramid, as the Egyptian architects made it, despite its external similarity and impressive size, can hardly be considered a man-made World Mountain, although with she is, of course, connected to the sky. At least, its edges, as a rule, are quite accurately oriented to the cardinal points, and one of the inclined internal corridors is parallel to the earth's axis. There is even a bold hypothesis according to which the pyramids at Giza are located in mirror image in the same way as the stars of Orion’s belt. It turns out that the Egyptians did not have time to build at least four more large pyramids to fully reproduce this beautiful constellation.
But still, the main theme of ancient Egyptian architecture is not the sky, but the afterlife. The Egyptians took their fate after death very seriously. At the moment of death, a person seemed to be disassembled into its component parts: into spirit and soul, shadow and physical body, into name and strength... The pharaoh and his entourage also relied on a spiritual double - Ka, the rest made do with just the soul - Ba. In order to reunite with the rest of the parts, the soul alone had to go through numerous tests on a journey through the afterlife, and then appear before the court of the formidable Osiris and prove that its owner did not commit any of the 42 sinful acts. The gods weighed the heart of the deceased on special scales. If, burdened with sins, it outweighed the feather from the headdress of the goddess Maat, who personified the truth, then it was sent into the mouth of a terrible crocodile, which deprived the former owner of the chance of revival.
Pyramid of Pharaoh Djoser at Saqqara. Egypt. Architect Imhotep. OK. 2650 BC © quintanilla/iStock
The first ancient Egyptian pyramid had six stages. Essentially, these are mastaba tombs stacked on top of each other. Thus was born the idea of using pyramidal forms for burial structures.
The one who was acquitted by the court reunited all his parts in himself and, in full, went to the land of eternal bliss. Do not think that the theme of death made ancient Egyptian art somehow gloomy. Departure from life was perceived simply as relocation and continuation of existence in different conditions, and not as a terrible end. […]
Mortuary temple of Mentuhotep II in the necropolis of Thebes. 21st century BC Reconstruction by Edward Naville and Clark Somers © Naville - deir el bahari, part II,1910, Naville/Wikipedia
Little has survived from the architecture of the Middle Kingdom to this day.
Another world in the ideas of the ancient Egyptians was always present next to them, as if right there, only in another dimension. However, there were few points of contact between the two worlds - the earthly and the afterlife. And where such points were discovered, sacred cities and, consequently, temples were built. Like the pyramids, temples became the face of Egyptian architecture. However, one should not forget that between the two types of buildings lies a whole time gap - about a thousand years. It’s as if we combined the St. Sophia Cathedrals in Kyiv and Novgorod and the Moscow City skyscrapers into one narrative on the history of Russian architecture.
Temple of Amon Ra. Luxor, Egypt. Construction began in 1400 BC. © Marc Ryckaert (MJJR)/Wikipedia
Thebes (the Egyptians called Waset) - the capital of first Upper and then all of Egypt - was located approximately where the city of Luxor is now located. On its territory or near it there are several significant monuments, in particular the Luxor temple and the Karnak temple connected to it by a grandiose avenue of sphinxes, as well as the funeral temple of Queen Hatshepsut.
The Egyptian temple is in many ways similar to the European one we are used to. With some degree of convention, it can even be called a basilica. Like an ordinary basilica, it is oriented along the main axis, and the most sacred area is located furthest from the entrance. We often use the expression “the road to the temple.” It became especially relevant after the premiere of Tengiz Abuladze’s film “Repentance,” where the incomparable Veriko Andzhaparidze utters the famous phrase: “What is the point of a road if it does not lead to a temple?” The Egyptians also took this issue seriously. They had not just straight, solemn paths leading to sacred buildings, but entire alleys of hundreds of sphinxes - sometimes with ram heads, sometimes with human heads - lined up like a guard of honor. Under their gaze the visitor approached pylons- towers tapering upward, decorated with sacred inscriptions and reliefs. (The term “pylon” has several meanings: it is a tower, and simply a pillar, a support; however, everything that is called a pylon is usually rectangular in plan.) The pylons precisely indicated the boundary beyond which everything earthly and momentary remained. Egyptologists believe that the paired towers symbolize the mountains: the sun goes behind them and behind them the earth meets the sky. Behind the columns was located peristyle- a temple courtyard surrounded by columns. Isn't it true that this resembles the composition of an early Christian basilica? Next came hypostyle(from the Greek ὑπόστυλος - supported by columns), that is, a huge hall with many closely spaced round supports, stone lotuses, papyri and palm trees.
Temple of Queen Hatshepsut. Deir el-Bahri, Egypt. Architect Senmut. First quarter of the 15th century BC © Arsty/iStock
The mortuary temple of Queen Pharaoh Hatshepsut took nine years to build. The structure, in general terms, imitates the nearby mortuary temple of the Middle Kingdom pharaoh Mentuhotep II, but surpasses it in both size and perfection of proportions.
The chain of halls strung on the main axis could be very long. One of them contained a ritual boat - a means of transportation in the afterlife, necessary for both the gods and the souls of deceased people. The columns supported ceilings painted the color of the night sky and decorated with images of stars, planets and sacred birds. The further the next hall was located from the entrance, the fewer people had access to it. It all ended in the same way as later among Jews and Christians - in the most sacred room, the Holy of Holies. True, the Egyptians did not think of the idea of sacred emptiness or storage of sacred texts. Honors were traditionally given to the statue of the god to whom the temple was dedicated. Every morning the pharaoh or priest washed and decorated the sculpture, after which the doors to the sanctuary were solemnly closed for the day. To a certain extent, the Egyptian temple was not only a “portal” to the Other World, but also a “guide” to it, telling mortals what awaited them after the inevitable end.
Shintoism
We can say that Mesopotamian and ancient Egyptian architecture speak to us in foreign, but quite understandable languages. Everything is much more complicated if we turn to the architecture of the East that is closer to us chronologically, but less understandable. Let us begin, for contrast, with one of the most distant - both geographically and culturally - phenomena, namely the Japanese architecture of the Shinto religion.[…]
There is something in common that unites most of the architectural monuments of the planet, from Babylonian ziggurats and Egyptian pyramids to the skyscrapers of modern metropolitan centers - this is the desire to bring order to the world given to us by nature. This approach developed in ancient times, when it was believed that God or the gods created the world correctly, but then deteriorated. Various reasons were given: the destructive influence of time, the sins of mankind, or the machinations of the demons of chaos, but the conclusion was always the same: the Golden Age was a thing of the past. Any construction was therefore understood as the restoration of a lost order (sometimes, of course, as the construction of a hitherto unprecedented order, as, for example, in the Soviet era). Architecture is designed to bring order to chaos. European architects, of course, do not think about this every second, but this idea has been rooted in the subconscious for thousands of years. Someone who works differently, striving for agreement with what has already been given by nature, perceives himself as a rebel, at least separates himself from his colleagues, claims, for example, that he is not just an architect, like everyone else, but an environmental architect.
Japanese architects, at least before the arrival of Buddhism on the islands, simply could not think of opposing themselves to nature and establishing order in it. For them, only harmonious inclusion into the existing order of things is permissible. According to the ideas of Shintoists, the world is one and everything in it, without any breaks, is permeated with divine energy tama(or, literally translated, the soul), which is everywhere and in everything. It's similar to the electromagnetic field in physics, but it behaves a little differently. Tama is capable of condensing, concentrating its power. If such concentration occurs inside an object or living being, then such an object or such a being becomes a god. Similar deities - kami- can appear to us in the familiar guise of a personal god, such as, for example, the sun goddess Amaterasu, but they can also become simply a natural object, say a cliff or a source. Moreover, we are not talking about the European spirits of the place living somewhere nearby (we will talk about them later), but precisely about the fact that the beautiful rock in which tama is condensed becomes a deity itself, or more precisely, the body of a deity. But how did the inexperienced Japanese peasants distinguish between where it was just a cliff and where it was a cliff that should be worshiped like a god? This is where the nation’s inherent sense of beauty came to the rescue. Kami can be recognized in an object only by the power of collective elemental intuition. Since the place is beautiful and somehow attracts the villagers, it means that tama has definitely thickened in it. It follows from this that it must be fenced off (preferably with a straw rope) and made cannabi- a zone of special sacred purity and ritualized behavior. Near such territory, community festivals will be held in honor of the kami with special dances, sumo wrestling and tug-of-war. Spirits are called to help not only through prayers. More precisely, there are no prayers as such; instead, there are magical rituals. Thus, stomping, “shaking the earth” (it can be seen in dances and at sumo giant tournaments) is an ancient way to stir up the tama and wake up the kami.
Shinto shrines that appear on sacred territories always seem to grow out of nature itself. Such architecture cannot in any way be a “crystal” brought from outside, but only an organic addition to nature itself. Accordingly, the beauty of the building should be special. Wood, straw, and Japanese cypress bark are welcome materials. The now fashionable rounding of logs would seem blasphemous. The type of buildings was borrowed from Korea, but there granary barns, protected from moisture and tailed robbers, were built on pillars; here, supports rising from the ground are a symbol of organic origin, not “set”, but “growing” of the building.
Ise-jingu is the main Shinto shrine. It is believed that the imperial regalia - a mirror, a sword and jasper pendants (or at least one of them - a bronze mirror) are kept here. The goddess Amaterasu personally passed them on to her descendants - the ancestors of the first imperial dynasty. According to the official chronology, the complex has existed since the 4th century BC. In the name of maintaining ritual purity, wooden structures are dismantled every 20 years and reproduced on a reserve site. And so it has been for 1300 years. The round stilts on which the building is raised above the ground and the open gallery with a circular path indicate borrowing from the humid regions of Korea, where similar structures were used as granaries. The area around the buildings is absolutely forbidden for believers.
The fact that the Shinto shrine is thought of as something living is confirmed by another custom. The life of such a building has its own rhythm, just as we have the rhythm of steps or breathing. Every 20 years, the building is dismantled and rebuilt on a reserve site. After another 20 years it returns to its original place. Without this technique, wooden structures would hardly have reached us after centuries. In Europe, by the way, there is a similar practice. Half-timbered the houses, the same ones that captivate us in the illustrations to Andersen’s fairy tales (wooden beams form a frame filled with light materials), were also dismantled and recreated anew, only much less frequently - once every few centuries. But Shinto shrines are rebuilt not only for the sake of physical preservation. An important condition for successful interaction with kami is ritual purity. The body of a kami (and this can be not only a natural object, but also, for example, a round mirror - a symbol of the Sun and shintai(the seat of the spirit) of the goddess Amaterasu) must be carefully protected from desecration, therefore, unlike the temples of the Abrahamic religions, no one can ever enter the Holy of Holies of Shinto shrines, including the clergy. Time still has power and even in Japan spoils the creations of human hands. The shrine is polluted by the views of parishioners and especially by death, which is why it was necessary to change the location of the building every 20 years: during such a period, most likely, at least one supreme ruler died, desecrating with his death the perfect purity of the temple territory.
Islam
[…]Virtually all Muslim architecture, except in cases where it developed under the direct influence of Byzantine prototypes, avoids even a hint of “fleshness”, any indication that an inert material - stone, brick or concrete - is hidden behind the visible surface of the wall. Islamic buildings, of course, are three-dimensional, but both the external volumes and the boundaries of the internal spaces seem to be formed by flat surfaces that have no thickness, they look like just a bizarre ornament or sacred writing, immaculately applied to the thinnest edges of disembodied crystals. Most of all, this is similar to ideal constructions in geometry, where a point has no diameter and a plane has no volume.
At the same time, Islamic architecture feels free from tectonic logic, the laws of which both Christian architects, Hindus and Buddhist builders obey to one degree or another. The parts carried here are “weightless”, they do not put pressure on anything, due to which there is no need for those who carry them to demonstrate their power: where there is no mass, there is no weight.
At the end of the 15th century, under the pressure of Christian troops, the Arabs were forced to leave Europe. Thus ended the Reconquista - a long process of “conquering” the Iberian Peninsula from Muslims. However, on the lands of Spain, especially in Andalusia, remarkable monuments of Islamic culture remained. The Alhambra, the residence of the rulers of the Emirate of Granada, is a fortified structure with a huge palace and park complex inside. The name comes from the Arabic Qasr al-Hamra (Red Castle). The main structures were erected between 1230 and 1492.
Of course, all this is not accidental. Undoubtedly, the art of Islam would have looked different if God had chosen a prophet who spoke a different language. Historically, Arabs were nomads. Not only cattle breeding, but also trading in those days meant long journeys: you bought goods on one edge of the desert, loaded them on camels, and after weeks of difficult travel, sold them profitably wholesale or retail on the other side of the sandy sea. The instability and mobility of the nomadic way of life left a special imprint on the worldview and, as a result, on the language of the Arabs. If sedentary peoples think primarily in objects, then for the ethnic group in question, actions came first, so most words in the Arabic language come not from nouns, but from verbal roots, while the sound image of the word dominates the visual one. A kind of “lexical constructor” has emerged from consonants, most often three, the use of which in different combinations can form both related and opposite words. For example, the root RHM (we can easily hear it in the famous prayer formula "bi-media-Llbyahi-rrahmbani-r-rahbim"- “In the name of God, the Gracious, the Merciful”) means “to be merciful”, “to have mercy on someone”. At the same time, the root HRM has the opposite meaning: “to prohibit”, “to make inaccessible”. By the way, the “original Russian” word “terem” comes from the same “haram” (“ban”) and implies a harem, the forbidden female half of the house.
It goes without saying that these features of the language were reflected in writing. For most peoples, not only hieroglyphs, but also the letters of the phonetic alphabet come from schematized images of objects or actions. Among the Arabs, from the very beginning, letters meant only sounds; there was no image of the material world behind them. This is noticeable if you just look at examples of Arabic calligraphy. […]
A page from the Koran with verses 27–28 of Sura 48 - “Al Fatah” (“Victory”). Parchment, ink, pigment. North Africa or Middle East. VIII–IX centuries. Frier and Sackler Galleries. Smithsonian Institution Museums. Asian art collection. Washington, USA
A sample of early Kufic writing from the Abbasid dynasty. The letters, stretched from right to left, seem to strive to convey the melody of Arabic speech.
Apart from the books of the Koran, the only man-made object obligatory for worship by Muslims is the Kaaba temple. All other structures, like other works of art, only help prayer by organizing a special space and creating an appropriate mood. However, they are not shrines in the usual sense. Muslims have neither idols, nor icons, nor miraculous relics (sometimes, however, the tombs of saints are venerated, but this is more a manifestation of respect for the memory of the righteous than an expectation of heavenly intercession).
The absence of the idea of “special” holiness of this or that building, at least to the extent that is customary among Christians, also frees us from special stylistic differences between residential buildings and places of prayer - similar decor can be used in both a mosque and, say, harem. In some countries, for example in Egypt, this made it possible to form a special type of urban planning complex - kuliye, single ensembles that simultaneously include a mosque, a school, a hospital, and a dervish hostel.
However, how to convey the idea of the unity of the Universe, that is, evidence that the world was created by one Creator, if this world is forbidden to depict? In this case, the cultural heritage of their ancestors, nomads and pastoralists came to the aid of Islamic, primarily Arab, creators. Two craft skills, familiar primarily to nomadic peoples, formed (consciously or subconsciously) the basis of one of the main distinctive features of Islamic art - the desire to decorate surfaces with fanciful ornaments.
Firstly, this is carpet weaving. The decoration of a carpet, especially a simple nomadic carpet used as the floor, walls and ceiling of easily erected tents and tents, is planar and symmetrical in nature. A product whose surface “falls” into the perspective of a realistic image is a perversion, only to a small extent forgivable in later European tapestries. A carpet used for its intended purpose is the border between the inner protected space of a home and the elements of the outside world, between comfort (even if temporary, but shelter) and the bare steppe earth. Therefore, the carpet should be flat not only physically, but also ornamentally.
Secondly, this is the art of weaving leather: straps and whips, belts and horse harnesses... For thousands of years, cattle breeders have practiced the skill of knitting knots, braids and flat decorative overlays from leather ribbons.
It was these skills that helped in the creation of delightfully complex ornaments, completely, almost without gaps, covering the walls of Islamic buildings. In fact, we Europeans usually look at such decor incorrectly when, admiring it, we try to take in the entire composition at once and get a holistic impression. In fact, you need to take your time and tastefully follow the endless journey of each ribbon or each leaf-decorated sprout. Thus, without taking our eyes off the series of weaves that cover the entire decorated surface and “stitch” the entire work, even a grandiose building, into a single whole, we, in essence, see an ideal illustration of Plato’s theory of the One, of the universe, permeated with the inextricable threads of the Creator’s plan.
It must be said that with all the endless diversity, the world of Islamic ornament can be divided into two main groups. The first will include purely geometric motifs, the creation of which, no matter how complex they may seem, involves the simplest tools familiar to every schoolchild - a compass and a ruler. In the second - those that are called plant, that is, endless intertwining of liana-like branches with leaves and flowers of all shapes, sizes and biological species. This second type, often found in European art, is called arabesque, which directly indicates its historical roots.[…]
The Wazir Khan Mosque was built during the reign of the Mughal emperor Shah Jahan, on whose orders the famous Taj Mahal was created. The niche is covered with a keel-shaped arch characteristic of Islamic architecture. The font of the inscription shows a departure from Arabic canons under Persian and Turkic influence.
It is well known that Islamic architecture created a great variety of vaulted forms, which undoubtedly already existed in Umayyad architecture and two of which are the most typical. This is the horseshoe arch, most fully expressed in the art of the Maghreb, and the “keeled” arch is a typical example of Persian art. Both of them combine two qualities: static rest and ascending lightness. The Persian arch is both noble and light; it grows almost effortlessly, like the quiet flame of a lamp, sheltered from the wind. And, on the contrary, the Maghreb arch amazes with its breadth of scope: it is often restrained by a rectangular frame in order to create a synthesis of stability and abundant fullness.
Titus Burckhardt. Art of Islam. Language and meaning.
Taganrog: Irbi, 2009. P. 41.
Of course, the traditions of Muslim art do not only come from the Arab heritage. Each of the peoples who converted to Islam wove their threads into the common basis of this motley “carpet”. For example, the Persians superimposed the rigor of Muhammad's fellow tribesmen with oriental bliss and refined ideas of supreme bliss. In the East they say that Arabic is the language of God, and Farsi (Persian) is the language of heaven. It is in Persian miniatures and in sacred texts executed by Iranian calligraphers that floral patterns finally move away from dry geometricism and, it seems, are ready to compete with celestial prototypes with their sophisticated perfection. It is worth noting the specific contribution of the Persians to the history of architecture. Since in the Middle Ages Iranian architects used only brick and, therefore, did not use post-and-beam structures, the skill in constructing arches, vaults, domes and their intricate combinations received a colossal impetus for development at that time.
Peoples with Turkic and Mongolian blood and their combinations also participated in the multiplication of the art forms of Islam. For example, if you look at calligraphy, which is also present on the walls of architectural structures, you will notice not only patterns lined up along a virtual horizontal line. Often sacred texts are inscribed in intricately shaped medallions that resemble round flames. This is the influence of another ornamental culture that came from Central Asia, from India and the Tibetan mountains.
The Turkic tribes, having finally conquered Byzantium and turned Constantinople into Istanbul, began, as soon as they settled in the new place, to build mosques in previously Christian territories. However, instead of following the traditional Arabic models, which mostly “creep” along the ground and do not reach into the sky, they created a new type of “place of prostration”, imitating the already well-known Hagia Sophia, but adapted to the needs of the Muslim cult.
Architect Mimar Sinan (probably the one depicted on the left) supervises the construction of the tomb of Suleiman I the Great. Illustration by Seyyid Lokman for the Chronicles of Sultan Suleiman (Zafernama). 1579 Wikipedia
Let us recall that since the time when the Prophet Muhammad, while in “exile” in Medina, used the courtyard where his family’s homes overlooked for collective prayer, every mosque must include several mandatory elements. This is, first of all, a covered, shaded space (originally, in the Prophet's Mosque, a simple canopy), one of the walls of which (the Qibla wall) faces Mecca. In the center of such a wall there is a sacred niche - a mihrab (once there could have been just a door in this place). Symbolically, it means both the “cave of the world” and the niche for the lamp, bringing light, but not simple light, but Divine revelation. In cathedral mosques next to the mihrab there is a minbar- something between a throne (sometimes under a canopy) and a staircase of several steps. Once upon a time, the Prophet himself introduced the custom of preaching while sitting on the steps of a small staircase, as if today one of us was sitting on a stepladder during a conversation. By the way, this event is connected with a touching story concerning one architectural detail. Before using the ladder, the Prophet, according to the custom of shepherds and cattle breeders, spoke, leaning on a staff made of palm wood. Later, having turned out to be unnecessary for the owner, the staff became sad and, as a consolation, was walled up in one of the columns of the Medina mosque, where it is believed to be located to this day, revered by pious pilgrims. This is how the famous expression “palm tree yearning for the Prophet” was born.
We remember how, upon entering the newly built majestic temple, Emperor Justinian exclaimed: “Solomon, I have surpassed you!” Now, after the fall of Christian Constantinople, the time has come for Turkish architects to compete with the builders of Hagia Sophia.
At the same time, they made attempts to add elements required for a mosque to the ensemble. The main building apparently took on the role zullah- a shaded space, so it remained to attach courtyard galleries with wells for ritual ablutions and surround it minarets. In ancient times, when there were no minarets yet, their functions were performed by ordinary elevations: nearby rocks or the roofs of tall buildings, from where the muezzin could call parishioners to prayer. Later, towers of different shapes and proportions appeared. Turkish minarets - slender and pointed, like well-sharpened pencils - added new meaning to the Byzantine domes of Istanbul mosques. The passion of prayer turned to the sky is harmoniously combined with dignified submission to God's will, expressed by the perfect volumes of the huge domes.[…]
Satanic altar of VIL
One of the main results of the Russian March was the awareness by patriots of the situation in which we now live: Russia is occupied; occupation “constitution” filk’s charter, which can be formatted by any of the puppets sitting at the top with the stroke of a pen; The Russians have no army; there is no single national organization capable of returning power to the Russians; There are no special hopes for a quick victory either. The question arises: what to do?
Patriots try to answer it in different ways, often voicing someone else’s suggested words. Some organize a “prayer stand,” others gather a society of zealous persecutors of pederasty, others run around the city with a piece of rebar, others throw mayonnaise at someone, and others chase away liberal grandmothers who have lost their minds. The result of such activity is obvious. When we try to criticize her, they scold us, saying, let’s do at least something. What?
As the ancient Chinese wisely said, a journey of a thousand miles begins with one step.
The Russians are separated from OUR DAY not by a thousand, but by a much shorter distance, but this does not negate the need for the first step. Our the first step should be to remove the body from the ziggurat on Red Square. Below we will explain in detail the magical side of this action, which knocks out the occult foundation from under the existing regime in Russia, but first of all it is important to understand the practical essence of this step.
It begins with the fact that, having familiarized themselves with the proposed material, nationalists should begin preparing for the removal of the body, which should strive to be carried out in April, on the day when Blank (Ulyanov) appeared, or perhaps this should be done on the anniversary of the day the body was loaded into the ziggurat ( these are the reasons for the Russian Marches). In the course of preparation and implementation of the task, we, on the one hand, will unite nationalists around a clearly defined vector of action, which will become the basis for the future unified Russian national liberation organization, on the other hand, we will identify all the enemies of the Russian people who will definitely show themselves: either by starting protest against the removal of the body, or refuse to support this intention. Everything will become simple and clear and a wonderful logical formula: “Whoever is not with us is against us!” will once again demonstrate its revealing effectiveness. Well, if this power opposes the removal of the body, under any pretext, then so much the better for the struggle - its satanic basis will be clearly and mercilessly revealed. After all, the struggle is currently only for the minds and souls, for the insight of our people, and if we win it, then we have already won.
Ziggurat (ziggurat, ziggurat): in the architecture of Ancient Mesopotamia, a cult tiered tower. Ziggurats had 3-7 tiers in the form of truncated pyramids or parallelepipeds made of raw brick, connected by stairs and gentle slopes and ramps (Dictionary of architectural terms)
Bloody Square. She's wearing a Ziggurat.
It's finished. I am close. Well, I'm glad.
I descend into the fetid, terrible mouth.
It's easy to fall on slippery steps.
Here is the stinking heart of ancient evil,
It eats bodies and souls to the ground.
A hundred-year-old beast built its nest here.
The door to Rus' is open to demons here.
Nikolay Fedorov
The architectural ensemble of Red Square has evolved over centuries. Kings replaced each other. The walls of the citadel replaced each other - first wooden, then white stone, and finally brick, as we see them now. Fortress towers were erected and demolished. Houses were built and dismantled. Trees grew and were cut down. Defensive ditches were dug and filled. Water was supplied and discharged. A wide network of underground communications was laid and destroyed, one way or another affecting structures on the surface. The covering of this surface also changed, right up to the railway (trams ran until 1930). The result was what we see now: a red wall, towers with stars, huge pine trees, St. Basil's Cathedral, shopping arcades, the Historical Museum and... the ritual ziggurat tower in the very center of the square.
Even a person far from architecture involuntarily asks the question: why was it decided to build a structure near the Russian medieval fortress in the 20th century - an absolute copy of the top of the Pyramid of the Moon in Teotihuacan? The Athens Parthenon has been duplicated in the world at least twice; one of the copies stands in the city of Sochi, where it was built by order of Comrade Dzhugashvili. The Eiffel Tower has multiplied so much that its clones in one form or another are present in every country. There are even “Egyptian” pyramids in some parks. But to build a temple to Huitzilopochtli, the supreme and bloodiest deity of the Aztecs, in the very heart of Russia is simply an amazing idea! However, one could come to terms with the architectural tastes of the leaders of the Bolshevik revolution - well, they built it, and oh well. But what is striking about the ziggurat on Red Square is not its appearance. It is no secret to anyone that in the basement of the ziggurat lies a corpse embalmed according to some rules.
A mummy in the 20th century, and a mummy made by the hands of atheists is nonsense. Even when builders of parks and attractions build “Egyptian pyramids” somewhere, they are pyramids only externally: it never occurred to anyone to seal a freshly made “pharaoh” in them. How did the Bolsheviks come up with this? Unclear. It is not clear why the mummy has not yet been taken out, since the Bolsheviks themselves have already been taken out, as it were? It is not clear why the Russian Orthodox Church is silent, since the body, so to speak, is restless? Moreover: there are many other bodies built into the wall near the ziggurat, which for Christians is the height of blasphemy, the temple of Satan, by and large, because this is an ancient ritual of black magic - to embed people into the fortress walls (so that the fortress will stand for centuries)? And the stars above the towers are five-pointed! Pure Satanism, and Satanism at the state level like the Aztecs.
In this situation, every person who considers himself a clergyman in “multi-confessional” Russia must begin every morning with a prayer to his gods, calling for the urgent removal of the ziggurat from Red Square, because it is a temple of Satan, no more and no less! Russia, we are told, is a “multi-religious country”: there are also “Orthodox” here (meaning the false church of the Russian Orthodox Church MP editor's note), and Jehovah's Witnesses, and Muslims, and even gentlemen who call themselves rabbis. They are all silent: Ridiger, various mullahs, and Berl-Lazars. They are satisfied with the Temple of Satan on Red Square. At the same time, this whole company says that it serves one god. One gets the persistent impression that we know what this “god” is called; the main temple for him stands in the main place of the country. What and who needs more evidence?
From time to time, the public tries to remind the authorities that, they say, the construction of communism has been canceled for 15 years, therefore it would not hurt to take the main builder out of the ziggurat and bury it, or even burn it, scattering the ashes somewhere over the warm sea. The authorities explain: pensioners will protest. A strange explanation: when Comrade Dzhugashvili was taken out of the ziggurat, half the country was on ears, but nothing this did not greatly strain the authorities. Yes, and the Stalinists today are no longer what they were before: pensioners are silent, even when they are dying of hunger, when they once again raise prices for apartments, electricity, gas, transport and then suddenly everyone will come out and protest?
Dzhugashvili was taken out as: today they recognized that he was a criminal tomorrow they buried him. But for some reason the authorities are in no hurry to deal with Blank (Ulyanov) - they have been delaying the removal of the body for 15 years now. The stars were not removed from the Kremlin, although the “Museum of the Revolution” was renamed the “Historical Museum”. They did not remove the stars from their shoulder straps, although they removed political instructors from the army. Moreover: the stars were returned to the banners. The anthem has been returned. The words are different but the music is the same, as if it awakens in the listeners some kind of programmatic rhythm that is important for the authorities. And the mummy continues to lie. Is there really some occult meaning involved in all this, incomprehensible to the public? The authorities again explain: if you touch the mummy, the communists will organize actions. But on November 4th we saw an “action” of the communists - three grannies came. And four grannies came out with banners a couple of days later, on November 7th. Is the government really that afraid of them? Or maybe it's something else?
Today, a person who knows what magic is can clearly see the occult, mystical meaning of the structure on Red Square. Sometimes it is difficult to explain to others the whole drama of the experiment being performed on them; someone will not believe it, someone will twist their finger at their temple. However, modern science does not stand still, and what seemed like magic just yesterday, for example, human flight through the air or television, has today become the so-called objective reality. Many moments associated with the ziggurat on Red Square also became a reality.
Modern physics has studied a little electricity, light, corpuscular radiation, and there is talk about the existence of other waves and phenomena. And they are regularly discovered, for example, the Japanese scientist Masaru Emoto recently conducted an extensive study of the microstructure of water crystals, which has long been attributed to the presence of certain properties of an information carrier (and an amplifier of various radiations not detected by instruments). That is, some part of the knowledge considered occult has already become a purely physical fact.
Who, besides specialists, knows about the “mitogenic radiation” of Gurwitsch (Gurwitsch, discovered back in 1923 (partially its physical nature was established in 1954 by the Italians L. Colli and U. Faccini)? These and other persistent invisible waves emit dead or dying cells. Such waves kill has been proven in a number of experiments. Obviously, the reader assumes that we will now discuss the “radiations” emanating from the mummy and harming Muscovites? The reader is deeply mistaken: we will now talk about the history of Red Square. It is everything and will explain.
Red Square was not always Red. In the Middle Ages there were many wooden buildings that were constantly on fire. Naturally, over several centuries more than one person was burned alive at this place. At the end of the 15th century, Ivan III put an end to these disasters: the wooden buildings were demolished, forming Torg Square. But in 1571, the entire market burned down anyway, and again people burned alive - just as they would later burn in the Rossiya Hotel. And from then on the square began to be called “Fire”. For centuries it became the site of executions - ripping out nostrils, lashings, quarterings and boiling alive. The corpses were thrown into the fortress moat, where the bodies of some military leaders are now walled up. During the time of Ivan the Terrible, animals were even kept in the ditch and fed with these corpses. In 1812, during the capture of Moscow by Napoleon, it all burned down again. Even then, about a hundred thousand Muscovites died, and the corpses were also dragged into the fortress ditches; no one buried them in the winter.
From an occult point of view, after such a background, Red Square IS ALREADY a terrible place, and some sensitive people approaching the Kremlin for the first time well feel the oppressive atmosphere spread by its walls. From a physical point of view, the ground under Red Square is saturated with death, because the necrobiotic radiation discovered by Gurvich is extremely persistent. Thus, the very place for the ziggurat and burial of Soviet commanders already suggests certain thoughts
A ziggurat is a ritual architectural structure that tapers upward like a multi-stage pyramid, the same one that stands on Red Square. However, a ziggurat is not a pyramid, since it always has a small temple on top. The most famous of the ziggurats is the famous Tower of Babel. Judging by the remains of the foundation and records on surviving clay tablets, the Tower of Babel consisted of seven tiers resting on a square base with a side of about one hundred meters.
The top of the tower was designed in the form of a small temple with a ritual MARRIAGE BED as an altar the place where the king of the Babylonians entered into relations with the virgins brought to him the spouses of the god of the Babylonians: it was believed that at the moment of the act the deity entered into the king or priest performing the magical ceremony and impregnated a woman.
The height of the Tower of Babel did not exceed the width of the base, which we also see in the ziggurat on Red Square, that is, it is quite typical. Its contents are also quite typical: something resembling a temple at the top, and something mummified lying at the lowest level. That something that the Chaldeans used in Babylon later received the designation teraphim, that is, the opposite of seraphim.
It is difficult to explain well the essence of the concept of “teraphim” in brief, not to mention descriptions of the varieties of teraphim and the approximate principles of their work. To put it roughly, the teraphim is a kind of “sworn object”, a “collector” of magical, parapsychic energy, which, according to magicians, envelops the teraphim in layers, formed by special rites and ceremonies. These manipulations are called “creation of teraphim”, since it is impossible to “make” teraphim.
The clay tablets of Mesopotamia are not very decipherable, which gives rise to different interpretations of the signs recorded there, sometimes with very startling conclusions (for example, set out in the books of Zecharia Sitchin). In addition, the sequence of the “creation of the teraphim” that lay in the foundation of the Tower of Babel would not have been made public by any priest, even under torture. The only thing that the texts say and with which all the translators agree is that the teraphim of Bel (the main god of the Babylonians, for communication with whom the tower was built) was a specially processed head of a red-haired man, sealed in a crystal dome. From time to time other heads were added to it.
By analogy with the making of teraphim in other cults (Voodoo and some religions of the Middle East), a gold plate, apparently rhombic in shape, with magical ritual signs was most likely placed inside the embalmed head (in the mouth or instead of the removed brain). It contained all the power of the teraphim, allowing its owner to interact with any metal on which certain signs or an image of the entire teraphim were drawn in one way or another: through the metal, the will of the owner of the teraphim seemed to flow through the metal into the person in contact with it: on pain of death By forcing his subjects to wear “diamonds” around their necks, the king of Babylon could, to one degree or another, control their owners.
Pickled head with hole
syphilitic freak VIL
still an object of worship for Russians
We cannot say that the head of the man lying in the ziggurat on Red Square is a teraphim, but the following facts attract attention:
- there is at least a cavity in the mummy’s head for some reason the brain is still kept in the Brain Institute;
- the head is covered with a surface made of special glass;
- the head lies in the lowest tier of the ziggurat, although it would be more logical to put it somewhere up. The basement in all religious institutions is always used for contact with the creatures of the Pekla worlds;
- images of the head (busts) were replicated throughout the USSR, including pioneer badges, where the head was placed in a fire, that is, captured during the classical magical procedure of communicating with Pekla demons;
- Instead of shoulder straps, for some reason the USSR introduced “diamonds”, which were later replaced by “stars” - the same ones that burn on the Kremlin towers and which were used by the Babylonians in cult ceremonies of communication with Vil. “Ornaments” similar to diamonds and stars, imitating a gold plate inside the head under the tower, were also worn in Babylon; they are found in abundance during excavations;
In addition, in the magical practices of Voodoo and some religions of the Middle East, the process of “creating teraphim” is accompanied by ritual murder; the victim’s life force was supposed to flow into the teraphim. In some rituals, parts of the victim’s body are also used, for example, the victim’s head is walled up under a glass sarcophagus with a teraphim. We cannot say that something is also walled up under the head of the mummy in the ziggurat on Red Square, however, there is evidence that such a fact takes place: in the ziggurat lie the heads of the ritually killed king and queen, as well as the heads of two more unknown people people killed in the summer of 1991, the time of the “transfer” of power from the communists to the “democrats” (thus the teraphim was, as it were, “updated” and strengthened).
We have some interesting facts.
The first fact is the certainty that the murder of Nicholas II was ritual and, as a consequence, his remains could be subsequently used for ritual purposes. Entire historical studies have been written about this, dotting all the i's.
The second fact is reflected in these studies: testimonies of Yekaterinburg residents who, on the eve of the assassination of the Tsar, saw a man “with the appearance of a rabbi, with a pitch-black beard”: he was brought to the place of execution on a train from ONE CAR, which was occupied by this important person among the Bolsheviks. Immediately after the execution, such a noticeable train left with some boxes. Who came, why we don’t know.
But we know the third fact: a certain Professor Zbarsky “invented” the recipe for embalming in three days, although the same North Koreans, having much more advanced technologies, worked on the preservation of Kim Il Sung for more than a year. That is, someone again apparently suggested the recipe to Zbarsky. And so that the recipe would not slip away from his circle, Professor Vorobiev, who helped Zbarsky, and also, unwillingly and unwillingly, learned about the secret, quite soon “accidentally” died during an operation.
Finally, the fourth fact the consultations of the architect Shchusev (the official “builder” of the ziggurat) mentioned in historical documents by a certain F. Poulsen a specialist in the architecture of Mesopotamia. It’s interesting: why did the architect consult an archaeologist, since Shchusev seemed to be building and not conducting excavations?
Thus, we have every reason to assume that if the Bolsheviks had so many “consultants”: on construction, on ritual murders, on embalming then obviously they advised the revolutionaries correctly, doing everything according to the same magical scheme they would not have built Chaldean ziggurat, embalm the body according to the Egyptian recipe, accompanying everything with Aztec ceremonies? Although with the Aztecs everything is not so simple.
We compared the ziggurat on Red Square with the Tower of Babel not because it is most similar to it, although it strongly resembles it: it’s just that the abbreviation of the pseudonym contained in the ziggurat of the leader of the world proletariat coincides with the name of the god of the Babylonians - his name was Vil. We don’t know again, probably a “coincidence”. If we talk about an EXACT copy of the ziggurat, about the sample, the “source” then this is undoubtedly the structure on top of the Pyramid of the Moon in Teotihucan, where the Aztecs made human sacrifices to their god Huitzilopochtli. Or a structure very similar to it.
Huitzilopochtli is the main god of the Aztec pantheon. He once promised the Aztecs that he would lead them to a “blessed” place where they would become his chosen people. This is what happened under the leader Tenoche: the Aztecs came to Teotihucan, massacred the Toltecs who lived there, and on the top of one of the pyramids erected by the Toltecs they built the temple of Huitzilopochtli, where they thanked their tribal god with human sacrifices.
Thus, everything is clear with the Aztecs: first some demon helped them and then they began to feed this demon. However, nothing is clear with the Bolsheviks: was Huitzilopochtli involved in the revolution of 1917, since the temple near the Kremlin was definitely built for him!? Moreover: Shchusev, who built the ziggurat, was advised by an expert on the cultures of Mesopotamia, right? But in the end it turned out to be a temple of the bloody Aztec deity. How did this happen? Did Shchusev listen poorly? Or was Poulsen telling a bad story? Or maybe Poulsen really had something to talk about?
The answer to this question became possible only in the middle of the 20th century, when images of the so-called “Pergamon Altar” or, as it is also called, the “throne of Satan”, were found. Mention of it is already found in the Gospel, where Christ, addressing a man from Pergamum, said the following: “...you live where the throne of Satan is” (Rev. 2:13). For a long time, this structure was known mainly from legends; there was no image.
One day this image was found. When studying it, it turned out that either the temple for Huitzilopochtli was an exact copy of it, or the structures had some more ancient model, from which they were copied. The most convincing version claims that the “source” now rests at the bottom of the Atlantic in the middle of the continent Atlantis that perished in the abyss. Some of the priests of the ancient satanic cult moved to Mesoamerica, and the second part found refuge somewhere in Mesopotamia. We don’t know if this is actually true, and it’s hard to say which branch the builders of the ziggurat in Moscow belong to, but the fact is clear: in the center of the capital there is a structure, an exact copy of two ancient temples, where bloody rituals were performed and inside this structure in a glass coffin there is a specially embalmed corpse. And this is in the 20th century.
The consultant who “helped” Shchusev build the ziggurat knew well what the structure needed by the customer should look like, even without any excavation of clay tablets. Strange knowledge, strange customers, a strange place for a building, strange events in the country after the completion of construction famine, and more than one, war, and more than one, the Gulag a whole network of places where millions of people were tortured, as if the life energy was being pumped out of them. And, apparently, the ziggurat became the accumulator of this energy.
Trying to talk about the “principles of operation” of the ritual complex on Red Square will not be entirely correct, since magic is an act of occult influence, and the occult has no principles. Let's say physics talks about some kind of “protons” and “electrons”, but in the beginning there still lies the creation of electrons, the creation of protons. How did they come about? As a result of the “magic” of the Big Bang? The phenomenon can be called whatever you like in words, but this does not make the supernatural something that can be touched and seen. Even “feeling” and “looking” is still a fact of interaction of consciousness with individual manifestations of so-called “electricity”, the essence of which is absolutely incomprehensible. However, let's try to fit into the terminology acceptable to scientific atheism.
view from above:
"cut" 4th corner
(taken from the Bolshevik website www.lenin.ru)
Everyone knows what a parabolic antenna is. They also know the general principle of its operation: a parabolic antenna is a mirror that collects something, right? What is the corner of the building? Angle is an angle, that is, the intersection of two smooth walls. There are three such corners at the base of the ziggurat on Red Square. And in the place of the fourth on the side from where the demonstrations passing in front of the stands appear there is no corner. There is, of course, not a stone pabolic “plate” there, but there is definitely no corner there; there is a niche there (it is clearly visible in the archival footage, where people in clothes with stars are burning the banners of the Third Reich at the ziggurat). The question is: why this niche? Where does this strange architectural solution come from? Is it possible that the ziggurat drains some energy from the crowd walking across the square? We don’t know, although let us remind you that it is customary to place a very naughty child in a corner, and sitting on the corner of a table is extremely uncomfortable, since the depressions and internal corners draw energy out of a person, and sharply protruding corners and ribs, on the contrary, emit energy. We cannot say what kind of energy we are talking about; it is possible that some of its qualities are precisely represented by the so-called “electromagnetic radiation”, actively used by the organizers of the ziggurat. Judge for yourself.
"Cut off" 4th corner of the throne of Satan VILA
In the early 20s of the last century, Paul Kremer published a number of publications in which, using such a purely abstract thing at that time as “genes” (they didn’t know about DNA at that time), he deduced a whole theory about ways to influence the genes of a particular population with hypothetical radiation , expelled from dead or dying tissues. By and large, it was a theory about how to spoil the gene pool of an entire people by forcing people to stand for some time in front of a specially treated corpse or by relaying the “radiation” of this corpse to the entire country. At first glance, it’s a pure theory: some “genes”, some “rays”, although this procedure was well known to magicians back in the days of the pharaohs and was governed by the laws of asymptotic magic. According to these laws, the appearance and well-being of the pharaoh in some supernatural way were relayed to his subjects: the pharaoh was sick, the people were sick, they made some kind of freak and mutant pharaoh, mutations and deformities began to appear in children all over Egypt.
Then people forgot about this magic, or rather, people were actively helped to forget that it was magic. But time passes, and people understand how the DNA system works understand from the point of view of molecular biology. And then several more decades pass and such a science as wave genetics appears, phenomena such as DNA solitons are discovered - that is, ultra-weak, but extremely stable acoustic and electromagnetic fields generated by the genetic apparatus of the cell. With the help of these fields, cells exchange information both with each other and with the outside world, turning on, off, or even rearranging certain regions of chromosomes. This is a scientific fact, no fiction. All that remains is to compare the fact of the existence of DNA solitons and the fact that SEVENTY MILLION people visited the ziggurat with the mummy. Draw your own conclusions.
The next possible “mechanism of operation” of the ziggurat is a stable mitogenic field on Red Square, created by the blood and emanations of pain of the people killed there soaked into the local soil. How is it a coincidence that the ziggurat is in this exact place? And the fact that under the ziggurat there is a huge sewer that is, a cesspool filled to the top with feces is also a “coincidence”? Feces this is a material, on the one hand, that has long been and traditionally used in magic to induce various types of damage, on the other think, how many microbes live and die in the sewer? When they die, they radiate. How much Gurvich's experiments showed: small colonies of microbes easily killed mice and even rats. Did the builders of the ziggurat know that there was a sewage system at the site of the future construction? Let's assume that the Bolsheviks did not have an architectural plan for the square; they dug blindly, as a result of which one day the sewer broke and the mummy was flooded. But then the collector was not rebuilt, diverting it, for example, away from the ziggurat. It was simply deepened and expanded (this information will be confirmed by Moscow diggers) so that the leader of the world proletariat had something to eat.
It seems that the builders of the ziggurat seemed to have mastered magic perfectly if, through millennia, they managed to betray some tradition from generation to generation and once reproduced the “throne of Satan” on Red Square without ever having seen any drawings of it known to science. They owned, they own and, obviously, they will own, conducting satanic experiments on the Russians, and possibly on all of humanity. But perhaps they won’t if the Russians find the strength to put an end to this. This is not difficult to do, because: although the ziggurat is registered with UNESCO as a “historical monument” (monuments cannot be desecrated) the unburied corpse lying there completely falls out of the legal field, desecrating the religious feelings of believers of all faiths and even atheists. You can simply pick him up and drag him out at night by his feet, without violating a single Russian “law,” because there is no law or legal basis for which this mummy is in the ziggurat.
From the book "The Origins of Evil (The Secret of Communism)":
“Write to the angel of the Pergamon church: ...you live where the throne of Satan is:.” Any guide to Berlin mentions that since 1914, the Pergamon Altar has been located in one of the Berlin museums. It was discovered by German archaeologists, and it was moved to the center of Nazi Germany. But the story of the throne of Satan does not end there. The Swedish newspaper Svenska Dagblalit reported the following on January 27, 1948: “The Soviet army took Berlin, and the altar of Satan was moved to Moscow.” It is strange that for a long time the Pergamon Altar was not exhibited in any of the Soviet museums. Why was it necessary to move him to Moscow?
The architect Shchusev, who built the Lenin Mausoleum in 1924, took the Pergamon Altar as the basis for the design of this tombstone. Externally, the mausoleum was built according to the construction principle of ancient Babylonian temples, of which the most famous is the Tower of Babel, mentioned in the Bible. The book of the prophet Daniel, written in the 7th century BC, says: “The Babylonians had an idol named Bel.” Isn't it a significant coincidence with the initials of Lenin, who lies on the throne of Satan?
To this day, VIL’s mummy is kept there, inside the pentagram. Church archeology testifies: “The ancient Jews, having rejected Moses and faith in the true God, cast from gold not only a calf, but also the star of Remphan” - a five-pointed star, which serves as an invariable attribute of the satanic cult. Satanists call it the seal of Lucifer.
Thousands of Soviet citizens stood in line every day to visit this temple of Satan, where Lenin’s mummy lies. The leaders of the states paid tribute to Lenin, who rests within the walls of the monument erected to Satan. Not a day goes by without this place being decorated with flowers, while Christian churches on the same Red Square in Moscow were turned into lifeless museums for many decades.
While the Kremlin is overshadowed by the stars of Lucifer, while on Red Square, inside an exact copy of the Pergamon Altar of Satan, the mummy of the most consistent Marxist is located, we know that the influence of the dark forces of communism continues."
Ziggurat
Ziggurat(from the Babylonian word sigguratu- “top”, including “top of the mountain”) - a multi-stage religious building in ancient Mesopotamia, typical of Sumerian, Assyrian, Babylonian and Elamite architecture.
Architecture and purpose
A ziggurat is a tower of parallelepipeds or truncated pyramids stacked on top of each other, from 3 for the Sumerians to 7 for the Babylonians, who did not have an interior (with the exception of the upper volume in which the sanctuary was located). The ziggurat's terraces, painted in different colors, were connected by stairs or ramps, and the walls were divided by rectangular niches. Inside the walls supporting platforms (parallelepipeds) there were many rooms where priests and temple workers lived.
Next to the stepped ziggurat tower there was usually a temple, which was not a prayer building as such, but the dwelling of a god. The Sumerians, and after them the Assyrians and Babylonians, worshiped their gods on the tops of the mountains and, preserving this tradition after moving to the lowlands of Mesopotamia, erected mound mountains that connected heaven and earth. The material for the construction of ziggurats was raw brick, additionally reinforced with layers of reeds, and the outside was lined with baked bricks. Rains and winds destroyed these structures, they were periodically renovated and restored, so over time they became taller and larger in size, and their design also changed. The Sumerians built them in three stages in honor of the supreme trinity of their pantheon - the god of air Enlil, the god of water Enki and the god of sky Anu. The Babylonian ziggurats were already seven-tiered and painted in the symbolic colors of the planets (five planets were known in ancient Babylon): black (Saturn, Ninurta), white (Mercury, Nabu), purple (Venus, Ishtar), blue (Jupiter, Marduk), bright -red (Mars, Nergal), silver (Moon, Sin) and gold (Sun, Shamash).
In the later period, the ziggurat was not so much a temple structure as an administrative center where the administration and archives were located.
The prototype of the ziggurat were stepped temples. The first such towers in the form of primitive stepped terraces appeared in the alluvial valleys of the Tigris and Euphrates at the end of the 4th millennium BC. e. The last noticeable surge in activity in the construction of Mesopotamian ziggurats is attested already in the 6th century BC. e., at the end of the Neo-Babylonian period. Throughout ancient history, ziggurats were renovated and rebuilt, becoming a source of pride for kings.
A number of biblical scholars trace the connection between the legend of the Tower of Babel and the construction of high tower-temples called ziggurats in Mesopotamia.
Ziggurats survived in Iraq (in the ancient cities of Borsippa, Babylon, Dur-Sharrukin, all - 1st millennium BC) and Iran (in the site of Chogha-Zanbil, 2nd millennium BC).
see also
Sources
- B. Bayer, W. Birstein and others. History of mankind 2002 ISBN 5-17-012785-5
Wikimedia Foundation. 2010.
Synonyms:- Full Moon wo Sagashite
- SSL
See what "Ziggurat" is in other dictionaries:
Ziggurat- (Akkadian), in the architecture of Ancient Mesopotamia, a cult tiered tower. The ziggurats had 3 to 7 tiers in the form of truncated pyramids or parallelepipeds made of adobe brick, connected by stairs and gentle ramps. The most famous... ... Art encyclopedia
Ziggurat- Etemenanki in Babylon (the so-called Tower of Babel). Ser. 7th century BC. Reconstruction. ZIGGURAT (Akkadian), a cult tower in the architecture of Ancient Mesopotamia. The ziggurats had 3 to 7 tiers of mud brick, connected by stairs and ramps. ... Illustrated Encyclopedic Dictionary
ziggurat- >.n. Tower of Babel). Ser. 7th century BC. Reconstruction. /> Ziggurat of Etemenanki in Babylon (aka Tower of Babel). Ser. 7th century BC. Reconstruction. Ziggurat of Etemenanki in Babylon (aka Tower of Babel). Ser. 7th century BC. Reconstruction... ... Encyclopedic Dictionary of World History
ziggurat- pyramid, temple, tower Dictionary of Russian synonyms. ziggurat noun, number of synonyms: 3 tower (45) pyramid ... Synonym dictionary
ZIGGURAT- (Akkadian) in architecture Dr. Mesopotamian cult tower. The ziggurats had 3 to 7 tiers of mud brick, connected by stairs and ramps... Big Encyclopedic Dictionary
Ziggurat- in the architecture of Ancient Mesopotamia, a cult tower. The ziggurats had 3 to 7 tiers of mud brick, connected by stairs and ramps... Historical Dictionary
Ziggurat- stepped tower in Mesopotamian temple construction. Large explanatory dictionary of cultural studies.. Kononenko B.I.. 2003 ... Encyclopedia of Cultural Studies
ziggurat- A stepped structure without internal premises, forming the foot of the temple [Terminological dictionary of construction in 12 languages (VNIIIS Gosstroy USSR)] Topics architecture, basic concepts EN zigguratzikkurat DE Sikkurat FR ziggourat ... Technical Translator's Guide
ZIGGURAT- temple tower, belonging to the main temples of the Babylonian and Assyrian civilizations. The name comes from the Babylonian word sigguratu summit, including the top of a mountain. The first such towers in the form of primitive stepped terraces appeared in... ... Collier's Encyclopedia
Ziggurat- (Akkadian) religious building in ancient Mesopotamia, which was a mud-brick tower made of parallelepipeds or truncated pyramids stacked on top of each other (from 3 to 7), which did not have an interior (with the exception of the upper volume, in which... ... Great Soviet Encyclopedia
Books
- Ziggurat, Santis Pablo De, "One of my companions remembered John Ruskin's The Seven Lamps of Architecture, a book he had read in his youth, and explained the meaning of each of the lamps. The first symbolized... Category: Fiction and related topics Series: Publisher:
Hypothetical reconstruction of the ziggurat at Ur
Ziggurat(from the Babylonian word sigguratu- “top”, including “top of the mountain”) - a multi-stage religious structure in Ancient Mesopotamia and Elam, typical of Sumerian, Assyrian, Babylonian and Elamite architecture.
Architecture and purpose
A ziggurat is a tower of parallelepipeds or truncated pyramids stacked on top of each other, from 3 for the Sumerians to 7 for the Babylonians, who did not have an interior (with the exception of the upper volume in which the sanctuary was located). The ziggurat's terraces, painted in different colors, were connected by stairs or ramps, and the walls were divided by rectangular niches.
It is not completely clear for what purpose the ziggurats were erected. Etymology does not help solve this problem, since the word "ziggurat" comes from the verb Zakar, which simply translates to “build high.” The pioneers of Mesopotamian archeology naively believed that ziggurats served as observatories or towers for the “Chaldean” stargazers, “in which the priests of the god Bel could hide at night from the heat and mosquitoes.” However, all these hypotheses are obviously untrue. Almost immediately the thought of the Egyptian pyramids comes to the mind of any person who sees a ziggurat. Of course, Egyptian influence on Sumerian architects cannot be completely ruled out, but it should be noted that, unlike the pyramids, there were never tombs or any other premises inside the ziggurats. As a rule, they were erected over older and much more modest structures built during the Early Dynastic period. In turn, these low, one-story ancient ziggurats, as is now generally accepted, originated from the platforms on which the temples of the Ubaid, Uruk and proto-literate periods stood.
Some researchers believe that the Sumerians originally lived in the mountains, on the tops of which they worshiped their gods. Thus, the towers they erected were supposed to become a kind of artificial mountains rising above the Mesopotamian lowland. Other scholars, rejecting this simplistic and in many ways rather controversial explanation, believe that the temple platform (and therefore the ziggurat) was intended to elevate the main city god above other deities and alienate him from the “laity.” Researchers belonging to the third group see in the ziggurat a huge staircase, a bridge connecting the temples located below, where daily rituals were held, and a sanctuary located above, located halfway between earth and sky, where on certain occasions people could meet with the gods.
Perhaps the best definition of a ziggurat is found in the Bible, which says that the Tower of Babel was built to be “high to the heavens.” In the deeply religious consciousness of the Sumerians, these huge, but at the same time amazingly airy structures were “prayers made of bricks.” They served as a constant invitation to the gods to descend to earth and at the same time an expression of one of the most important aspirations of man - to rise above his weakness and enter into a closer relationship with the deity.
The material for the construction of ziggurats was raw brick, additionally reinforced with layers of reeds, and the outside was lined with baked bricks. Rains and winds destroyed these structures, they were periodically renovated and restored, so over time they became taller and larger in size, and their design also changed. The Sumerians built them in three stages in honor of the supreme trinity of their pantheon - the god of air Enlil, the god of water Enki and the god of sky Anu. Babylonian ziggurats were already seven-stepped and painted in the symbolic colors of the planets.
The last noticeable surge in activity in the construction of Mesopotamian ziggurats is attested already in the 6th century BC. e., at the end of the Neo-Babylonian period. Throughout ancient history, ziggurats were renovated and rebuilt, becoming a source of pride for kings.
A number of biblical scholars trace the connection between the legend of the Tower of Babel and the construction of high tower-temples called ziggurats in Mesopotamia.
Ziggurats survived in Iraq (in the ancient cities of Borsippa, Babylon, Dur-Sharrukin, all - 1st millennium BC) and Iran (in the site of Chogha-Zanbil, 2nd millennium BC).
In other regions
Ziggurats in the strict sense of the word were built by the Sumerians, Babylonians, Elamites and Assyrians. However, in essence, a ziggurat is a religious structure in the form of a stepped pyramid. Similar religious buildings were built using similar and slightly different technology by many peoples in different parts of the world - in Ancient Egypt, Sardinia, Mesoamerica, South America, Southeast Asia and even in equatorial Africa. The pyramids of Mesoamerica are closest to ziggurats in purpose. As in Mesopotamia, Indian “ziggurats” were built by different peoples using the same technology and in the same architectural style, and on their tops there were temple buildings.
Loading...
