The Sky-God Dyaeus

Joannes Richter

Dyæus

For my androgynous partner Fries

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Joannes Richter

Dyæus Discovering the Predecessor of Modern Religions

Published by Lulu -2009-

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© 2009 by Joannes Richter Published by Lulu www.lulu.com All Rights Reserved ISBN: xxx-x-xxxx-xxxx-x

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Contents 1 Introduction............................................................................9 2 Overview..............................................................................11 3 Patriarchy versus Matriarchy...............................................17 4 Palaeolithic Artwork and Tools ...........................................19 5 Unnamed N-headed Sculptures............................................25 6 Named N-headed Sculptures................................................39 7 Body Mirroring at Burials....................................................57 8 Text Manuscripts..................................................................65 9 The Bible..............................................................................75 10 The garments....................................................................105 11 Etymology for the Word “Paars”......................................111 12 Flags.................................................................................115 13 A Survey of Androgynous Godheads ..............................119 14 Proto-Indo-European Language.......................................123 15 Colours, Twining and Runes............................................133 16 Religious Symbolism in Traditions..................................157 17 Linguistic Traces of Duality.............................................173 18 Psychoanalysis and Androgyny.......................................177 19 Modern androgynous symbolism.....................................179 20 Overview of Androgynous Symbols................................181 21 Credits in for this Study...................................................185 22 Conclusion.......................................................................187 23 Appendices (Summaries).................................................191

List of Figures and Photographs Fig. 1: The cobble from Makapansgat.....................................20 Fig. 2: Palaeolithic androgynous sculpture .............................29 5

Fig. 3: First Man - Dual Principle............................................31 Fig. 4: Hermes of Roquepertuse..............................................35 Fig. 5: Bifaced statue found at Holzgerlingen.........................36 Fig. 6: Horned bi-faced Hermes of Roquepertuse...................37 Fig. 7: The androgynous deity Zurvan.....................................40 Fig. 8: The Zbruch idol ...........................................................46 Fig. 9: Male figure at Boa Island (east side)............................49 Fig. 10: The female figure at the westside (Boa-Island)..........50 Fig. 11: Brahma carving at a temple in Halebidu....................52 Fig. 12: Janus-Sculpture (Vatican) .........................................53 Fig. 13: Androgynous couple (Mexico)...................................55 Fig. 14: Comparing head-to-head-positions............................62 Fig. 15: Headerlines from several medieval Bibles.................86 Fig. 16: Initial Ancient History (14th Century).......................87 Fig. 17: La Divina Commedia.................................................88 Fig. 18: Headerline Korczek-Bible (Prag- around 1410).........91 Fig. 19: Headerline Korczek-Bible (Prag- around 1410).........91 Fig. 20: God's hand to Noah (Viennese Codex - 6th Cent.).....93 Fig. 21: Creator God in red and blue garments........................97 Fig. 22: Jesus Christ being kissed by Judas(1336)..................98 Fig. 23: Male Sky-God (Viennese Codex - sixth Cent.)........101 Fig. 24: God's hand to Noah (Viennese Codex - 6th Cent.)...102 Fig. 25: Our Lady of Czestochowa........................................106 Fig. 26: Emperor Henry (detail Codex Manesse)..................108 Fig. 27: Register for Codex Manesse.....................................110 Fig. 28: The Tricolour of France (1358)................................115 Fig. 29: CIE xy chromaticity diagram...................................134 Fig. 30: Seal of Solomon.......................................................135 Fig. 31: The Celtic burial tomb at Hochdorf .........................136 Fig. 32: The Qabalistic Tree of Life.......................................141 Fig. 33: Sephiroth Tree according to Carla Randel................144 Fig. 34: The Prince's Flag (1572)...........................................147 6

Fig. 35: The Yin/Yang-symbol in the Korean banner............148 Fig. 36: German Maypole (2008)..........................................159 Fig. 37: Djed-pillar ................................................................161 Fig. 38: Androgynous -Married- Couple...............................164 Fig. 39: Androgynous face by Marc Chagall.........................179 Fig. 40: Androgynous face (painting J. Richter, 2003)..........180 Fig. 41: Seal of Solomon.......................................................181 Fig. 42: Heraldic sign for the Hansa-City of Bruges.............184 Fig. 43: Heraldic sign -Hanse-trading-era.............................184

List of Tables Table 1: Time Table for the Pleistocene...................................19 Table 2: Creation phases in Book Genesis...............................92 Table 3: Categorisation of medieval Bibles...........................100 Table 4: Basic Core PIE-Vocabulary.....................................125 Table 5: Androgynous Deities and their Pronouns................130 Table 6: Overview of Androgynous Deities...........................199

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1 Introduction The manuscript reveals a synthesis between etymology, religion, myths, history, palaeolithic sculptures and traditions, including the symbolism in ancient sculptures, in pronouns, twining and colours. Dyæus describes a predecessor for modern religions, in which people were aware they shared one common religion and a single sky-deity. Although travelling must have been difficult 20,000 years ago, traders seem to have been in regular contact at long distances, spreading language and religious ideas over Europe and other continents. Palaeolithic sculptures reveal a common basic idea of combining skulls in a form of duality. Comparing these symbols with other traces in the course of history we will learn to interpret some of these symbols as an ancient creation legend, in which a divine being creates an androgynous person and splits up the first being into a woman and a man. It is hard to believe people already have been devoted to a singular androgynous deity 20,000 years ago, but the palaeolithic sculptures are quite explicit. Many multi-headed sculptures have been found and one of the oldest identifiable sculptures, made of ivory of mammoth and found at Gagarino, Ukraine, is claimed be to 22,000 years old. Written sources reveal the deities have been symbolized by common symbols represented by vocals respectively by the characters I and U.

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Basic characters (the female “U” and the male symbol “I”) may be traced back in great number of divine names, in sculptures, in modern pronouns and even in symbolic colours. The Books Exodus and Chronicles reveal a great number of symbolic coloured woven materials (red, blue and purple twining) in the divine instructions for the Covenant tent and for Solomon's temple. Equivalent clothes and towels created in finest twining technology applying the basic colours red and blue to create the special emperor's colour purple have been found at the burial tomb in Hochdorf. These colours are the fundamental religious codes for the androgynous principle. The primary text of the Kabbala (Zohar) and Medieval variants of the Genesis describe an ancient Hebrew androgynous creation-legend, comparable to the legendary description in Plato's Symposium. The Kabbala allows us to reconstruct the original legend in the early version of the Bible. However the Zohar probably lost the main key to androgynous religion. The Zohar's author incorrectly defines the androgynous keys as (male) I and (female) H instead of the correct values (male) I and (female) U. The Book Dyæus now starts with an overview. Subsequently the author will describe the ancient sculptures and gradually develop the androgynous symbolism at full scope, leaving no doubt for a grand historical monument: A common androgynous religion for all peoples.

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2 Overview The manuscript starts with an androgynous religion in a summary.

overview,

explaining

Sky-gods in Indo-European Language In an introduction1 to the religious life of mankind Mircea Eliade describes the nature of the first common deity, identified as the Sky-Dweller or Owner of the Sky with a thundering voice and applying the lightning bolt as a weapon. In Indo-European language his name has been documented as Dyæus . The Mongol name for the supreme God is Tengri, which means sky. The Chinese T'ien may be translated as the sky and as God of the sky. Zeus and Jupiter still preserve in their names the memory of the sacredness of the sky. However we will also be able to identify androgynous symbolism in their names. Gradually the sky-god may be replaced by other divine figures, but in a few religions tending to monotheism the androgynous sky-god attains a unique position.

Analysis of N-headed and N-faced sculptures Found sculptures will cover a long period of time from palaeolithic eras until relatively recent centuries and finding locations are being spread worldwide. The idea of N-headed sculptures seems to be covering all continents.

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In the Sacred and the Profane-The Nature of Religion, by Mircea Eliade (1956), ISBN 978-0-15-679201-1.

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Findings at the Hochdorf burial mound and at the burial location of the Nebra disc reveal pre-historical travelling and trading routes between Northern European and Mediterranean cultures, spreading religious and cultural knowledge over long distances. These contacts explain why 2-, 3- and 4-faced deities may be found all over the world as if travelling had been as easy as today.

Androgynous bipolarity in sculptures Several ancient sculptures reveal androgynous bipolarity in gender-attributes. Some 4-faced sculptures (e.g. the Brahmasculpture at a temple in Halebidu) reveal androgynous attributes by referring to at least 1 bearded and 1 non-bearded face. Some 2-faced sculptures (e.g. in Hermes of Roquepertuse) reveal androgynous attributes by referring to a 7-10% difference in skull-size. A number of 4-faced sculptures (e.g. the Zbruch idol) reveal androgynous attributes by referring to 2 persons with breasts and 2 persons without breasts, but wearing beards.

Pronouns in Proto-Indo-European Language Prototypes for religious concepts and basic concepts for IndoEuropean Languages may share a number of ideas. Basically any language may be considered to apply fundamental words (covering basic ideas and fundamental thoughts). According to linguistic theories August Schleicher reconstructed and arranged the most important words in the Proto-Indo-European (PIE-) Language or probably in any language. In PIE the three most important words are the pronouns: "I", "You" and "We". In modern English we may 12

now consider three proto-pronouns (in order of ranking) "I" , "U" and "UI". Considering their ranking in linguistic statistics these three personal pronouns "I", "You" and "We" we will correlate these pronouns to equally important basic religious concepts in an androgynous symbolic context. The most prominent proto-pronoun "I" is the first person singular, which may be considered as a male symbol and refer to the religious concept of the lingam. The second relevant proto-pronoun "U" is the second person singular, which may be considered a female symbol and refer to the religious concept of the yoni. The third ranking word in Proto-Indo-European (PIE-) Language is the proto-pronoun "UI" or "IU" which may be considered as a merging joint for the singular proto-pronouns "U" and "I". In religious proto-concepts the joint of the male and female element may have been the divine joint "UI" or in a symmetrical version "IU". We may consider "IU-piter" (or "IU"-Father) to be a protoreligious concept as a parent-couple of the "IU"-concept. We may read "UI" as a "prototype" for the pronoun "We". In German mythology the "UI"-core is to be traced in the name of the androgynous creator-god Tuisco. The proto-pronouns (I, U) may refer to the male and female elements in a number of androgynous religions. The pronouns U (you) and I may very well be identified within the main deities names (Thou and I inside Tuisco, "je" at the inside and "Du" at the outside of the French "Dieu", and "io" inside "Dios"), indicating a religious bipolar symbolism.

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Tetragrammatons2 In Indo-European languages most principal deities, e.g. Diaeus (Sanskrit "Dyaus", Greek Zeus or Latin Deus) and Sius (the Hittite sun-god) are etymological pendants, which have been identified as androgynous deities as well. Kabbalistic literature explains the Hebrew Tetragrammaton IHVH as a combination of a male element (the elementary and smallest letter Jod, I) and a female element (V), equivalent to the symbol U.

Creation legends Androgynous creation legends (Plato's Symposium and the Zohar's legend) generally claim the male and the female halves of the first-born androgynous creature called "man" had been unable to see each other's faces. Although they had been linked together they felt lonely and in an idea of compassion the Hebrew God decided to split them. Plato however claims Zeus had to split them in fear for too much power... Either way the Creator-God had to separate their skulls and corpses by splitting the androgynous „man“-unity ("Adam"). Subsequently he "ornamented" the female half “like an bride” and did lead her in front of the male half (the bridegroom). Face-to-face and eye-to-eye the bride and the bridegroom were allowed to see each other's face for the very first time... This legend seems to symbolize a marriage in which the bride is "to be unveiled" at the wedding ceremony. Existing wedding ceremonies suggest the use of a mirror in wedding ceremonies to enable the couple to view the „rejoined“ duality as an image of „man“ and as an image of the Creator-God3. 2:

Four-lettered divine names Details about Afghan wedding symbols have been documented by Khaled

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Biblical symbols in colouring and weaving In an ancient Celtic grave at the German village Hochdorf the king's purple clothes reveals to have been woven in Byssus- or twining-technology using the finest threads of blue and red at extremely high densities of 80 threads/cm. This high density weaving of red and blue colours cannot be identified without optical tools and therefore the clothes look like a homogeneous purple material. The same technology (Byssus/Twining applying red, blue and purple) is found in the Bible's Exodus: we will learn to understand the relevant biblical quotations in the following chapters of this book. Elementary colours red, blue and purple refer to androgynous deities, symbolizing male (blue colours) and female (red colours) or divine symbols (purple colours).

Garments, Icons and Paintings From the beginning the “writing” of sacred artwork (icons, Bibles, books and paintings) had been organized by strict rules. Consequently these rules had to be followed for the royal garments as well. Seated at their imperial thrones the emperors Barbarossa and Henry VI had to wear either purple or red & blue.

Hosseini in The Kite Runner. Afghan symbols seem to have been valid in modern times as the novel is describing the seventies around 1970.

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Flags In analogy the royal garments (in fact however from the divine commands in Exodus) a great number of West-European flags has been designed. These flags probably represent the latest traces of androgynous religion in our modern society.

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3 Patriarchy versus Matriarchy Often the sky-god or the principal deity is called „Heavenly Father“ or „Father in Heaven“. The idea of a father-deity is rather aged and must have been a common definition as early as 500 before Christ. However in prehistoric ages we consider the idea of a preceding matriarchy, which also invites us to presume an intermediate crossover period of androgynous religion. Before studying the religious symbolism in ancient books, which have been written before 1950, I noticed some problems in understanding these texts due to the background knowledge for modern readers. The main cause for these misunderstandings is a dramatic changeover in social position for women. Up to World War II the Father-titles for the monotheistic deity were quite easily understood. Today we are used to consider women as equally ranked, individual citizens, but these equal rights are relatively new. Up to World War II most married women did not have the right to vote or to even manage their own property. In legal procedures the husband represented his wife as one of his children, including the voting procedures and the management of their property. The Bible defined the woman as a servant to her husband and some matrimonial manuals even described women as a man's limb. For at least 25 centuries “Man” used to be defined as a male person, which simply included his wife as an appendix4. 4:

see the manuscript Core Dump at Scribd by Joannes Richter (2009)

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In fact the English word “Man” represented a married couple instead of an individual human being. Therefore the Pope 1931 merely choose to address the encyclical "De Rerum Novarum" to the male members of the Church. Obviously the male addressees would be expected to pass the information to their female relatives and children. Now thinking of “Man” as God's image caused some problems. “Man” as a male person including a female appendix would result in a married couple, which certainly could not be depicted or even considered as a monotheistic deity. This paradox resulted in a historical phase in which Yahweh had to be accompanied by a wife Asjera. The people may even have been used to this common idea and have accepted the couple as a normal monotheistic deity. Now the initially created androgynous “Man” called Adam still needed to be halved into two individual beings woman and man, which as individual traditionally have been considered as incomplete. In ancient times unmarried individuals have been considered as halved “Men5”. In a matrimonial ceremony these male and female individuals were to be rejoined to an original androgynous “Man” as a divine image. The patriarchal idea, which mutated woman to an unimportant man's limb, may have been existing from at least 500 before Christ in the Mediterranean areas.

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This context requires the androgynous creatures in “Men” to be understood as female and male “human beings” and not strictly as “male beings”.

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4 Palaeolithic Artwork and Tools Summary of archaic art Some scientific terms used in this manuscript refer to the earth’s last glacial period, the Pleistocene, which extends from about 1.8 million years ago to about 10 thousand years ago. Epoch Pleistocene

Number of years

Age

1.8 million Lower Paleolithic years ago Industry: Olduwan Industry: Acheulean Middle Paleolithic Industry: Mousterian 30,000 years ago

Upper Paleolithic Industry: Chatelperronian Industry: Aurignacian Industry: Gravettian Industry: Solutrean Industry: Magdalenian

Holocene

10,000 years ago

Neolithic

Table 1: Time Table for the Pleistocene

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Also known as the Stone Age and the Palaeolithic, the Pleistocene has been divided into Lower, Middle, and Upper, the Lower and Middle Palaeolithic being associated with Acheulean and Mousterian tool industries, respectively. Each industry is defined by a specific tool-type.

The oldest paleolithic idol

Fig. 1: The cobble from Makapansgat.

One of the oldest palaeolithic idols ever found may be interpreted as a human two-faced head6, dated 3-2,3 million years ago. The idol has been used or produced in South Africa by an Australopitechus, a hominid preceding man.

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The ‘australopithecine’ cobble from Makapansgat, South Africa. Found by W.I. EITZMAN in 1925

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“On the back of the pebble, there is a second image, that is similar to the face of an Australopithecus. Scholars consider this dual-faced pebble as a product of natural processes, but it has been treated like a sculpture by an Australopithecus and therefore must be thought the first shape known of PRE-ART, that is the use of the ready-made before the fabrication of anthropomorphic or zoo-morphic sculptures for cult rituals. We never have seen the original, but if it has been slightly retouched, we may consider it as art”7. But even as a ready-made object this cobble may be the first dual-faced object, used as a religious totem and referring to a religious duality and/or any other symbolism. Archaeologists discovered a great number of similar ancient 2headed (and other N-headed) sculptures representing deities. Although any dual-faced object may refer to the androgynous creation-legend (equivalent to the famous creation-legend in Plato's Symposium) it may be hard or impossible to prove a link between this at least 2.5 - 2.9 million years old object and any later symbolism in our modern religions... The Australopithecus belongs to a very ancient series of hominids. In much later periods, in the period between 45,000 and 30,000 years ago in Europe, the relatively recent Homo sapiens neandertalensis has been replaced by our own species (Homo sapiens sapiens). In this era we observe acculturation of the local archaic Neanderthals merging with the newcomers, who seem to have arrived from Africa. From now on we will focus into these younger peoples and their religious ideas. 7:

From: Museum of the Origins of Man - by Pietro Gaietto

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Interpreting palaeolithic artwork and tools Interpretation of palaeolithic sculpture requires great skill, experience and a profound knowledge of the various types of sculptures found in archaeological sites all over the world. I am very grateful for the generous support I received from Pietro Gaietto and Licia Filingeri, who allowed me to use relevant informations from their websites8. Pietro Gaietto, who discovered the first sculpture referring to Neanderthal-idols in his Italian excavations, explains: “Sculptures of the Lower and Middle Palaeolithic predominantly represent human heads, as an imitation of natural objects. But in subsequent eras the head's representation will change its effective form in following an evolving "fashion". The form for sculptures of the human head considerably varies over the past three million years as these depictions will represent quite different types of the human species. Elder sculptures are representing the head without forehead and chin, while younger sculptures, depicting the Homo sapiens sapiens, reveal both a forehead and a chin”9. According to Pietro Gaietto sculptures of the lower and middle Palaeolithic eras refer to religious cults and may be classified in: 8:

"Museum of the Origins of Man" managed by Pietro Gaietto and “Paleolithic Art Magazine“ managed by Licia Filingeri.

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From: introduction to "Museum of the Origins of Man" by Pietro Gaietto

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1. 2. 3. 4. 5. 6. 7. 8.

an individual human head an individual animal's head a human head, dual-faced an animal head, dual-faced a human head joined at the neck to an animal's head a combination of a human head and an animal's head a naked woman (Venus) an animal's head applied to a human body.

The religious functions of these eight types of sculptures will be explained at the web-exhibition of sculptures including other artistic applications, produced in post-Palaeolithic eras: “As can be seen in the photographs, the artists have always been varying the size and orientation in the combinations of the heads, even in the same sculpture. This certainly had a purpose, which still is unknown to us. The depiction of the individual head, and of the combinations of heads, is reflected in the cult of the skull of the deceased. Authoritative scholars in the first half of the nineties claimed this cult for the lower Palaeolithic, given the large amount of parts of skulls found, compared to other parts of the skeleton. Findings of human skulls preserved in burial places are known from the middle Palaeolithic to the historical eras and have been found in many existing small primitive civilizations. The conservation of bear skulls in middle Palaeolithic has been observed as well”10. 10:

From: introduction to "Museum of the Origins of Man" by Pietro Gaietto

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From 2-headed to 4-headed idols Subsequently Pietro Gaietto describes the evolutionary transition from 2-headed to 4-headed sculptures as follows: “In the post-Palaeolithic eras, the eight types dramatically evolve along with the application of new working technologies and use of new materials, with an increase in the composition of the sculptures and of religious meanings. To the two-faced human heads the artists will add new heads, a human body, many arms, even eyes on the body, clothes, colours, etc., as may be found in the Indian deities. More chronological determinations may be obtained if the sculptures of two-faced human heads represent a union of two different human species, such as Neanderthalensis Homo sapiens and Homo sapiens sapiens”11. In must be noted that these evolutionary transitions differ from the transitions between monotheism and the N-headed idols as described by Mircea Eliade in later chapters of this book. This introduction to interpreting palaeolithic artwork and tools will help us to understand the sculptures in the next chapters of this book.

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From: Introduction to Museum of the Origins of Man" by Pietro Gaietto.

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5 Unnamed N-headed Sculptures Most of the figurines in this chapter may have received a name, but these names do not refer to the original names used by their creators.

Figurines of the Upper Paleolithic Depictions of the human feminine figure found in association with Upper Palaeolithic cultures commonly called “Venus figurines” are an extremely varied class of artefacts. Hundreds of these figurines have been found across the Eurasian continent from France to Siberia and have been dated to around 25,000 b. C.E. Karen Diane Jennett has published a fine overview of these Venus-statuettes in her thesis12. Although Jennett restricts her thesis to female sculptures she describes some relevant androgynous aspects, which may be used as a start in analysing the androgynous symbolism. Across the Eurasian landmass, hundreds of depictions of the human figure crafted by the artisans of various Upper Palaeolithic cultures -especially the Gravettian- have been unearthed at sites spanning from the French Pyrenees to Lake Baikal in Siberia. An assortment of raw materials have been employed to create both portable and fixed images portraying not only the female form, but also the male body, anthropomorphic characters, and androgynous people.

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Female Figurines of the Upper Paleolithic (2008) - by Karen Diane Jennett

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Jennett's thesis discerns the following groups of sculptures: • • • • •

Pyrenees-Aquitaine Group Mediterranean Group Rhine-Danube Group Russian Group Siberian Group

Although mammoth-ivory has been found in Italy the archaeologists never detected any mammoth-remains in Italy. Therefore the mammoth-ivory must have been transported from remote locations to Italy. This details explains how groups must have been in remote contact and may have spread religious ideas and trading goods.

Pyrenees-Aquitaine Group This group includes sculptures from South-western France along the edge of the Pyrenees, generally considered to have been densely populated at the end of the last Ice Age. Lascaux's art dates to about 15,000 b. C.E. and is much younger than Jennett's principal subject, the figurines more than 22,000 year old.

The Mediterranean Group Researchers found that this area was in fact one of the richest on the continent, featuring a number of dual-headed sculptures. In this overview we will concentrate on androgynous sculptures. In northeastern Italy, at the site of Savignano, the Venus of Savignano reveals “ambiguous sexual character” and may represent both feminine and masculine organs. 26

Margherita Mussi concludes that this piece is “clearly related to a sophisticated and now vanished cosmogony, in which a feminine and masculine principle were somehow interrelated into a superior oneness”. La Belle et la Bete (“the Beauty and the Beast”) is “a small pendant with a female figurine paired back-to-back with an animal”. Made from “a pale green-yellow serpentine,” the two carved creatures are “connected at the backs of the heads, the shoulders, and the feet”. The animal may be a canid (fox, wolf) or mustelid (weasel, marten, wolverine). The “yellow steatite figurine” is also included here with the “Janus” figurine. Also known as the “woman with the pierced neck”, the “very roughly carved” figurine has “an unusual face repeated on both sides”. The so-called ‘Janus’-figurine was named by Jullien in a letter he wrote to Edouard Piette in 1903, after the mythological Greek god of dreams who was considered to have two heads. Called the “female with two heads” or Bicéphale (“a woman with a double head”), the feminine figure features a second head is “slightly larger than the other” head and is “tilted in the same angle as the first”. Sculptures with slightly larger skulls may refer to their androgynous nature.

Rhine-Danube Group This geographic section includes those sites that are in what is today Germany, Austria, and the Czech Republic.

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Russian Group This geographic group encompasses those artefacts found in parts of south-west Russia and the Ukraine near the Black Sea. The sites from this area show remarkable similarities between each other – enough to qualify them for their own cultural subcategory – as well as similarities to many of those artefacts from the Rhine-Danube Group. Although not discussed Jennett's thesis lists a photograph for the androgynous ivory sculpture found at Gagarino, Ukraine, an example of two human beings joined together by the neck, with the whole body, which will be discussed in the following chapter.

Siberian Group Despite many recently conducted excavations all over the territory of North and Central Asia, the prehistoric era of this region is still poorly understood.

Conclusion Jennett's thesis accurately describes the feminine aspects of the sculptures, but leaves room for discussions in the field of androgynous symbolism. We will now proceed with an analysis for the androgynous ivory sculpture found at Gagarino.

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The sculpture found at Gagarino, Ukraine Identified androgynous 2-headed sculptures may be very old. A small sculpture in ivory of mammoth (extinct hairy Elephant) 14.8cm high (5.2cm the female figurine; and 9.6 cm the male figurine), found in a Palaeolithic site (evolved Gravettian, dated about 21,800 years ago) at Gagarino, Ukraine, is a rare example of two human beings joined together by the neck, including the complete body.

Fig. 2: Palaeolithic androgynous sculpture

According to the Institute for Ice Ages Studies L.M. Tarassov discovered a cylindrical ivory "baguette" during his excavations at Gagarino in 1968. Tarassov immediately understood they had been joined at the head13 and he states: “When finished the two figures remained attached at the tops of their heads”. 13:

Source: Institute for Ice Ages Studies

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In support of this argument he observed that: 1. “There was no advantage to working two figurines at the same time, as a single fracture during manufacture could destroy both statuettes, 2. economizing on ivory was not a satisfactory explanation because sites on the Russian Plain had an abundance of ivory, and 3. the incision between the heads was uniformly deep and very regular along its entire length”. Tarassov went so far as to relate this head-to-head position to the adolescent double burial at Sungir in which two individuals were interred with the tops of their heads touching. To my idea the head-to-head position of this sculpture refers to religious (or maybe even androgynous-like) symbolism.

The dual principle found in the Gobi desert As a frontispiece of his book14 colonel James Churchward chose the following dual-headed sculpture, coming from the ancient capital of the Uighurs. To this sculpture he reports: “The city has been destroyed about 18,000 to 20,000 years ago - Chinese records say 19,000 years ago – and the sculpture is probably the oldest record of man being created with the dual principle. These possibly are the two halves of man and woman which in bygone times made one soul.” 14:

The Sacred Symbols of Mu, published 1933 by James Churchward

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Of course modern investigation methods may eventually reveal a much younger age for the sculpture...

Fig. 3: First Man - Dual Principle Courtesy of P. K. Kosloff - Over 20,000 years old. From the ancient Uighur Capital, beneath Karakhota, Gobi Desert. (Non copyrighted material )

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Hermes of Roquepertuse Located at the city of Velaux, near Marseilles in Provence in southern France, Roquepertuse has been a religious centre without permanent inhabitants. Only a few priests may have been guarding the place permanently. The neighbour city Marseilles has been a Greek colony ever since 600 before Christ and the Greek colonists must have been living for centuries in a peaceful agreement with their Celtic neighbours. Roquepertuse belongs to the capital Entremont and both settlements were the religious respectively commercial centres of a Celtic tribe called the Salier. In 124 before Christ Roman forces, commanded by Consul Gaius Sextius Calvinus, destroy both Salien centres by using long-range artillery with heavy catapults, hurling 6 kg stone projectiles. The Romans devastate both centres completely and Consul Calvinus does not allow the Celts to rebuild them again, but instead he founds Colonia Aquae Sextia, the modern city Aix en Provence. Structures and buildings in Roquepertuse are set afire and collapse. They will be left abandoned and unnoticed for centuries, soon covered by layers of dust and brushwoods. Rediscovery starts 1860, followed by main excavations in 1923 by H. de Gérin-Ricard, unveiling: • • • •

1 bi-faced, androgynous idol (Hermes, 20 cm high) 3 columns with some cavities for human skulls 2 statues in Buddha-like seating position (62 cm high) 1 big bird, fallen apart into 24 pieces 32

Exposed in the museum Borély in Marseilles, these findings are dated at the third century before Christ. In this era the Celts have expanded from their homelands (Switzerland, southern Germany and northern France). Gérin-Ricard interprets the strange, bi-faced sculpture as equivalent to a Greek deity. He calls it Hermes as an equivalent to the bi-faced Hermes-statues and the Roman Termini. Other French archaeologist point out a 7 % difference in size between both heads and claim the statue to be a male-female portrait, in which a bird’s beak may be interfering. The statue is interpreted as a medium for some kind of a burial ceremony. The faces originally were painted red, the eyes and the hair being indicated by black colour. Obviously the French archaeologists are not aware of androgynous deities. German etymologists already declared Tuisco androgynous around 1844. Other equivalent androgynous gods have been documented to create man according to their image and to split them into male and female. A separation phase of this kind seems to be taking place in the above statue, found in a Celtic sanctuary. According to these legends the statue can be seen as an image of Mannus, but equally as an image of its Creator Tuisco. Nevertheless the statue found in Roquepertuse is an extraordinary finding, as Tacitus reports Germanic religious philosophy does not support the idea of locking up divine beings inside a temple or creating images and sculptures. Instead they honour their gods in trees and forests by calling his divine name in respectful contemplation.

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Several other androgynous and single skulls have been found in other Celtic towns like Entremont, Mouriès, Nages and Noves, indicating the head as a centre of venerability. Sometimes a human-like hand is resting on the top of the head, while the eyes may be shut or swollen like the eyes of a newly born baby. Unfortunately the sculptures found in the sanctuary reveal no inscriptions, but the language and the accompanying creation legend may be found in other regions, where the peoples were too crowded to be eliminated by the Pax Romana. Analysis of the Roquepertuse15 sculpture (fig. 3) may concentrate on the object between both skulls. Three ideas have been suggested by now: • an intervening beak of a bird (proposed by French archaeologists) • a third head (proposed by Mrs. Licia Filingeri in the Palaeolithic Art Magazine) • an obsidian knife (proposed by Joannes Richter) In discussions we may have an closer look at the sculpture: the object between both skills does not have a neck, but instead ends in a sharp blade like an obsidian knife to break up the joined skulls. The blade does not end up in a sharp point, which might refer to a bird's beak. Instead the blade refers to a sharp knife.

15:

Museum Borély in Marseilles, France

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Fig. 4: Hermes of Roquepertuse Splitting up the bi-fronted skulls must be seen as a religious procedure, which might be equivalent to Plato's creating legend in Symposium. Some sculptures will have been made with opposite faced heads, others with faces in the same, parallel direction.

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The Hermes at Holgerlingen The Hermeslike statue found at Holzgerlingen 16 is a double faced Herme, which may be comparable to the Hermes of Roquepertuse. The horns (or ears ?) are special features, which may clearly be identified in this 230 cm high sculpture.

Fig. 5: Bifaced statue found at Holzgerlingen

16:

now exhibited at the Landesmuseum Stuttgart - Germany

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Comparing the horns to the Hermes-like sculpture found in Roquepertuse, the equivalent elements may have been broken in the middle. I made a sketch to imagine how this sculpture may have been created as a horned (or eared) deity of the same type as the Holzgerlingen type:

Fig. 6: Horned bi-faced Hermes of Roquepertuse

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6 Named N-headed Sculptures In contrast to the preceding chapter most of the figurines in this chapter have received a name, more or less -depending on the historical sources- referring to the original names used by their creators.

The old-Iranian deity Zurvan Zurvanism17 is a now-extinct branch of Zoroastrianism that had the divinity Zurvan as its First Principle (the primordial creator deity). Zurvanism is also known as Zurvanite Zoroastrianism, in which Zurvan is the hypostasis of Time (and Space). The "classic" Zurvanite model of creation, preserved only by nonZoroastrian sources, describes: “In the beginning, the great God Zurvan existed alone. Desiring offspring that would create 'heaven and hell and everything in between,' Zurvan sacrificed for a thousand years. Towards the end of this period, androgynous Zurvan began to doubt the efficacy of sacrifice and in the moment of this doubt Ohrmuzd and Ahriman were conceived: Ohrmuzd for the sacrifice and Ahriman for the doubt. Upon realizing that twins were to be born, Zurvan resolved to grant the first-born sovereignty over creation. Ohrmuzd perceived Zurvan's decision, which He then communicated to His brother. Ahriman then pre-empted Ohrmuzd by ripping open the womb to emerge first. Reminded of the resolution to grant Ahriman sovereignty, Zurvan conceded, but limited kingship to a period of 9000 years, after which Ohrmuzd would rule for all eternity”. 17:

Information from the Wikipedia-entry Zurvanism

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Fig. 7: The androgynous deity Zurvan A silver plate18 documents the birth of Zoroastric's main Deity Ahura Mazdā and his counterpart (the devil) Ahriman from the shoulders of hermaphrodite original god Zurvan (referring to an endless time).

18:

Cincinatti Art Museum, Ohio, USA

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The Creator-god IHVH In a publication19 Raffaele Pettazzoni, professor of the History of Religions at the university of Rome reports an overview of 4-headed or 4-faced sculptures in the Bible: “In the post Biblical Judaism and in ancient, especially Syrian Christianity we may localize the tradition of a divine simulacrum with four faces, or four heads, that would have been adored by the Hebrew: 1. The Ba' al of Tyrus that Ahab, king of Israel, introduced in IX century b. C. in Samaria, as a result of his wedding with Izebel, daughter of the king of Syria ( The Kings 16. 29 & followings). The sculpture is described like "four-shaped" by Eustachius from Antiochia (approximately 300 AD). 2. The idol that Manasse king of Juda (VII century) creates and locates in the temple of Jerusalem (2 Chr. 33. 7). However he removes the sculpture in repentance after his return from Babylon (2 Chr. 33. 15). In the Syrian version (Pesitta) of 2 Chr. 33. 7 the idol is described as a "four-faced". Efrem Syrus (+ 373 a.D.) in the poem against Julian the Apostate, and Jacob from Sarug (+ 521) in the homily for "the Fall of the Idols" and in the homily for “Palm Sunday”, reproach the Hebrew to have adored a "fourfaced" idol, referring to the idol of Manasse. 19:

"The all-Knowing God" (London, 1956; original edition: "L'onniscenza di Dio", Edizioni Scientifiche Einaudi, Torino, 1955)

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The simulacrum of the 2. Book of Chronicles has explicitly been described in Barhebreus and in George Syncellus, Cedrenus and Suida. The Greek name for the 4-faced God is "Zeus". In the Talmud the idol of Manasse has four faces as well, whereas in the Syrian "Apocalypses of Baruch" the sculpture has five faces – an echo of this concept is found at St. Girolamus. 1. The simulacrum of Jahwe created by Micha, the son of Efraim for his private (illegitimate) cult. Subsequently the idol is to be possessed by the Danites and later worshipped in Dan-Lajis (Jew. 17 and 18). According to the Talmud this idol is equivalent to the 4-faced idol of Manasse. 2. Also the "imagine of jealousy" in the Temple of Jerusalem, according to Ezech. 8. 3, 5, is identified in the Judaic and Christian tradition with the idol of Manasse, and has therefore four faces”. These sculptures probably indicate an early Hebrew phase in religion has been erring between monotheism and attractive neighbouring deities. Mircea Eliade20 describes this early phase as follows: “Each time the ancient Hebrews experienced a period of peace and prosperity they abandoned Yahweh for the Baals and the Astartes of their neighbours.

20:

In the Sacred and the Profane-The Nature of Religion, by Mircea Eliade (1956), ISBN 978-0-15-679201-1, page 126.

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Only historical catastrophes forced them to return to Yahweh: 'And they cried unto the Lord and said, We have sinned, because we have foresaken the Lord and have served Baalim and Astaroth. But now deliver us out of the hands of our enemies and we will serve Thee' (1 Samuel, 12, 10)”. In general Mircea Eliade describes the paradox in which primitives remember their supreme beings in cases of cosmic catastrophes, abandoning their deities of fertility and opulence. They knew the godheads of opulence were unable to save them... However Mircea Eliade may have overseen the hidden source of power in the name of the monotheistic god. The sky-god provides his own fertility symbol inside his androgynous name, which will eventually guarantee fertility's survival in catastrophic situations. The Jewish Encyclopaedia report Yahweh created an androgynous Adam. In explaining the various views concerning Eve's creation, the Pharisees taught21 that Adam was created as a man-woman (androgynos), explaining (Gen. i. 27) as "male and female" instead of "man and woman," and that the separation of the sexes arose from the subsequent operation upon Adam's body, as related in the Scripture. This idea has been transported by various scholars and manuscripts in all subsequent eras (Philo, Zohar).

21:

From the Jewish Encyclopedia: Adam Kadmon ( Er. 18a, Gen. R. viii.)

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Svetovid In Wikipedia the entry Svetovid documents the following information for this deity: Sventevith, Svetovid, Suvid, Svantevit, Svantovit, Svantovít, Swantovít, Sventovit, Zvantevith, Świętowit, Światowid, Sutvid, Vid. and, incorrectly, Światowit, is the Slavic deity of war, fertility and abundance, sometimes referred to as Beli (or Byali) Vid, Beli = white, bright, shining22. Svetovid is associated with war and divination, being depicted as a four-headed god with two heads looking forward and two backward. A statue portraying the god reveals four heads, each one looking in a separate direction, a symbolical representation for the four directions at the compass and maybe for the four yearly seasons as well. Boris Rybakov argued for identification of the faces with the gods Perun, Svarog, Lada and Mokosh (comparable to the Zbruch idol). Joined together, the 4 faces observe all four sides of the world. This gave rise to a false etymology of the name of the god as "world-seer" (svet = "world", vid = "sight"; Svetovid = "worldseer"). However, the forms Sventevith and Zvantewith show a derivation of the name from the word svętъ, meaning "saint, holy". The second stem is sometimes reconstructed as vit = "lord, ruler, winner".

22:

The Wikipedia-entry already links to fertility and Baal.

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The name recorded in chronicles of contemporary Christian monks is Svantevit, which - properly transcribed - could be an adjective meaning approximately "Dawning One" (svantev, svitanje = "dawning, raising of the Sun in the morning" + it, adjective suffix). In later time Christians renamed Svantevit to the "dancing" Christian saint St. Veit. In Book 14 of the Danish History (Historia Danica) Saxo Grammaticus describes the sculpture at the temple on top of Cap Arkona at the northern German island of Rugia (Rügen). According to various chronicles the giant wooden sculpture of Svantevit is described as equipped with 4 heads including 4 necks and a horn of abundance. Each year the horn was filled with fresh mead. Two heads were facing forward to the right and left, whereas the other two heads were facing backward to the right and left. The temple was also the seat of an oracle in which the chief priest predicted the future of his tribe by observing the behaviour of a white horse identified with Svantevit and casting dice (horse oracles have a long history in this region, being already attested in the writings of Tacitus). The temple also contained the tribal treasury and was defended by a group of 300 mounted warriors forming the core of the tribal armed forces. Svantevit's sculpture and temple at Cap Arkona have been destroyed 1168 and the remains of the wooden sculpture have immediately been burnt in the religious baptising festivities at the conversion to the Christianity. 45

The Zbruch idol The Zbruch idol23, on display in the National Museum in Kraków, Poland reveals androgynous symbolism.

Fig. 8: The Zbruch idol

23:

National Museum in Kraków, Poland (free photograph from Wikipedia)

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The Zbruch Idol is a 9th century sculpture and one of the rarest monuments of pre-Christian Slavic beliefs. The pillar is commonly associated with the Slavic deity Svantevit, although opinions on the exact meaning of all the sculpting and their symbols differ. The Zbruch Idol is a four-sided pillar of grey limestone, 2.67 meters in height, and has three tiers of incisions at each of the four sides. The lower tier is 67 cm; the middle tier is 40 cm; and the top tier is 167 cm. Soon after the discovery, Joachim Lelewel theorized the top tier represented two bearded males and two beardless females. Boris Rybakov in his work Paganism of Ancient Rus (1987) argued that four sides of the top tier represent four different Slavic gods, two female and two male, with their corresponding middle-tier entities always of the opposite gender. Rybakov also identified the side with the male figure holding a horn as the front of the idol, based on the bottom-tier figure, which is shown with legs as if seen from head-on, the two adjoining sides showing the legs from the side, and the fourth side left blank. Finally, Rybakov believes that the entire idol's phallic shape is meant to unite all of the smaller figures as a single larger deity “Rod”. The four sculptures (numbered 1,2,3 and 4 from left to right in the following description) each symbolize three human persons in a vertical line. The upper large idols are wearing hats.

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Large upper idols The large upper idols all cover their breasts with their arms and partly hide their androgynous characters.

Small idols in the middle The small idols in the middle do not cover their breasts with their arms and clearly reveal their androgynous characters. • The small idols numbered 1 and 4 reveal their breasts and may be identified as female idols. • In contrast the large idols numbered 2 and 3 do not reveal female breasts and may be identified as male idols.

Lower pedestal idols The lower pedestal idols do not seem to reveal any relevant symbolism.

Androgynous character The breasts may indicate an harmonizing (50% male and 50% female) androgynous symbolism in the Zbruch idol sculpture. Both the 4-headed Zbruch Idol and the Svantevit sculpture may have experienced Pietro Gaietto's evolutionary transition from 2-headed to 4-headed sculptures.

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The androgynous deity Odin Interpreting "the Lusty Man" in the androgynous Celtic sculpture at Boa Island in Northern Ireland we may observe the male figure indeed is lusty and we wonder why he cannot turn around and mate with his partner.

Fig. 9: Male figure at Boa Island (east side) (the sculpture has been dated to the 1th century AD) The male figure with a phallus underneath his crossed arms seems to be blind on one eye, which may refer to Odin, who was blind at the left eye as well. He gave his left eye to the giant Mimir who allowed him to drink from the source of wisdom... 49

Odin has been identified as an androgynous deity: Odin = the Raging One, initiated in Freya's mysteries and One-Eyed Androgyne.

Fig. 10: The female figure at the westside (Boa-Island) Source: http://www.irishmegaliths.org.uk/zCaldragh.htm

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Of course the poor one-eyed man has been fixed in the back-toback position by a rope at the waist, which fastens the male and the female figures at their back-to-back-position. I am not sure if a rope also fixes the arms of both persons in a "helpless" crossed position, which would be a clear indication for depicting a helpless position. Crossing arms is a usual way of depicting persons in a helpless position. Although it is unclear whether the sculpture depicts a sky-god (e.g. Odin), these ideas may have been so common as to be used for several deities, including the "Lusty Man". If this interpretation is considered as correct, the "a"-symbol (or e, æ, ä, @...) between the male letters (I or Y) and the female (O or U) symbols in the divine name may be the "rope"symbol in fixing the male and female elements, which must be released by the sky-god to re-unite the couple for mating. In this case a, e, æ, ä, @... may easily all be identified as "lassos" or as rope-symbols.

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The 4-headed Creatorgod Brahma

Fig. 11: Brahma carving at a temple in Halebidu The Wikipedia-entry “Brahma” is documenting: Brahma is the Hindu god (deva) of creation and one of the Trimurti, the others being Vishnu and Shiva. He is not to be confused with the Supreme Cosmic Spirit in Hindu Vedanta philosophy known as Brahman. Brahmā's consort is Saraswati, the goddess of learning. Brahmā is often identified with Prajapati, a Vedic deity. 52

The Brahma carving at a temple in Halebidu may indicate androgynous symbolism as the deity's frontal face reveals a beard, whereas the left and right faces do not wear beards. Also the temple at the city of Pushkar houses a life-sized idol of the 4-headed God.

The 2- or 4-headed androgynous God Janus According to Macrobius and Cicero, Janus24 and Jana are a pair of divinities, worshipped as the sun and moon. For this reasons they were regarded as the main gods and received their sacrifices before all other deities. Janus and Janua are variant forms of Dianus and Diana. Both refer to the root of dies "day", deus "god" (see also “Dyæus ”, the Indo-European Sky-God).

Fig. 12: Janus-Sculpture (Vatican) 24:

Information from: Wikipedia-entry (Janus)

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In Roman mythology, Janus (or Ianus) was the god of gates, doors, doorways, of all beginnings and endings. His most apparent remnants in modern culture are his namesakes, the month of January and the caretaker of doors and halls: the janitor. Janus is considered as the God of all beginnings. In Roman sermons Janus used to be called in the very first place, even before Jupiter. Though he was usually depicted with two faces looking in opposite directions (Janus Geminus, twin Janus or Bi-frons), in some places he was Janus Quadri-frons (the four-faced). His two faces (originally, one was always bearded, one cleanshaven; later both bearded) initially represented the sun and the moon, and he was usually shown with a key. The sun and the moon however also used to be androgynous symbols representing man respectively woman. The Romans associated Janus with the Etruscan deity Ani. However, he was one of the few Roman gods who had no ready-made counterpart nor an analogous mythology. Several scholars suggest that he may have been the most important god in the Roman archaic pantheon: this is reflected in the appellation Ianus Pater, still used in Classical times. He was often invoked together with an obviously equally androgynous deity IU-piter (Jupiter). In Greece we may find Janus-like heads of gods related to Hermes, perhaps forming a compound god: Herm-athena (a herme of Athena), Herm-ares, Herm-aphroditus, Herm-anubis, Herm-alcibiades, and so on.

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In the case of these compounds it is disputed whether they indicated a Herme with the head of Athena, or with a Janus-like head of both Hermes and Athena, or a figure compounded from both deities. However these bi-faced figures may also be seen as androgynous symbols.

Androgynous Sculptures in Mexico

Fig. 13: Androgynous couple (Mexico) Archaeologists uncovered numerous dual-faced sculptures in Mexico. The left sided female person in this figure wears a necklace, whereas her male partner is somewhat taller. 55

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7 Body Mirroring at Burials Freud stated: "that right and left should mean male and female seems quite obvious..." Chris McManus25 clearly depicts the systematic scheme in burials for several cultures. Obviously the system varied from culture to culture, but some systematic approach may still be identified. The earliest left-right symbolism may be found at the burial pattern of proto-Indo-European peoples, the Kurgans, who dominated Europe at the fourth millenium BC and originated from the Black Sea area.

The Kurgan period Kurgan (кургáн) is the Russian word (of Turkic origin) for tumulus, a type of burial mound or barrow, heaped over a mostly wooden burial chamber. In 1956 Marija Gimbutas introduced her Kurgan hypothesis combining kurgan archaeology with linguistics to locate the origins of the ProtoIndo-European (PIE) speaking peoples. In the Kurgan period dead corpses were buried in a semi-flexed position, quite similar to a foetal position, to the right or left side. As a general rule most of the burials identified opposite sides for male and female persons. Man and woman seem to have been considered as mirrored images. At the Kurgan III-IV period the bodies of male and female corpses were oriented east-west, facing to the south. The females were lying on their left side and the males on their right side. 25:

Right Hand, Left Hand: The Origins of Asymmetry in Brains, Bodies, Atoms and … by Chris McManus (2002)

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The Beaker periods The burials at the Beaker periods are younger than the Kurgan period of the 4th millennium BC. The Beaker culture (also Bell-Beaker culture, Beaker people, or Beaker folk 26), ca. 2600-2000 BC, is the term for a widely but spottily scattered archaeological culture of prehistoric western Europe starting in the late Neolithic (stone age) running into the early bronze age. •

At the Beaker I period the bodies of male and female corpses were oriented north-south, facing to the east. The females were lying on their right side and the males on their left side.

•

At the Beaker II period the bodies of male and female corpses were oriented north-south, facing to the east. The females were lying on their right side and the males on their right side.

•

At the Beaker III period the bodies of male and female corpses were oriented east-west, facing to the south. The females were lying on their right side and the males on their left side.

Corded Ware culture The term "Corded Ware culture" (die Schnurkeramikkultur) was introduced by the German archaeologist Friedrich Klopfleisch in 1883. The name is taken from cord impressions found on the surface of vessels found in archaeological sites across a large portion of central and eastern Europe. Corded Ware culture is associated with the Indo-European family of languages by many scientists. 26:

German Glockenbecherkultur

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The "Corded Ware culture" was a central and eastern European phenomenon. Its western boundary was the Rhine River. To the south it reached the Alps and occupied the Upper Danube River basin to the mouth of the Morava River. Carbon-14 dating of the remaining central European regions shows that Corded Ware appeared after 2880 b. C. The pile settlements with Corded Ware in the Alpine foothills, which yield the most accurate information, disappeared about 2440 b. C. The years between 2300 and 2100 b. C. were a period during which the Corded Ware culture ended in most regions, especially in the southern part of its domain (basins of the Danube, Upper Rhine, Elbe, and Vistula). Only in the Russian Plain did it last until 2000 b. C. An important observation concerned the orientation of the buried body according to gender. Throughout Corded Ware culture, there was a definite opposition to placing men and women in the same positions in graves. Inhumation occurred under flat ground or below small tumuli in a flexed position; on the continent males lay on their right side, females on the left, with the faces of both oriented to the south. However, in Sweden and also parts of northern Poland the graves were oriented north-south, men lay on their left side and women on the right side - both facing east. Originally, there was probably a wooden construction, since the graves are often positioned in a line. This is in contrast with practices in Denmark where the dead were buried below small mounds with a vertical stratigraphy: the oldest below the ground, the second above this grave, and occasionally even a third burial above those.

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Other types of burials are the niche-graves of Poland. Grave goods for men typically included a stone battle-axe. Pottery in the shape of beakers and other types are the most common burial gifts, generally speaking. Often decorated with cord, but also incisions and other types of impressions. The approximately contemporary Beaker culture had similar burial traditions, and together they covered most of Western and Central Europe. While broadly related to the Corded Ware culture, the origins of the Bell-Beaker folk are considerably more obscure, and represent one of the mysteries of European pre-history. On this basis researchers conclude that the internal organization of the Corded Ware people was based on a definite assignment of gender roles. The right to burial was not equal for both genders. There were many more male burials, fewer female, but the rarest were those of children (children were often buried together with an adult).

Corded Ware pottery The prototype of the Corded Ware culture, German Schnurkeramikkultur is found in Central Europe, mainly Germany and Poland, and refers to the characteristic pottery of the era: twisted cord was impressed into the wet clay to create various decorative patterns and motifs. It is known mostly from its burials, and both sexes received the characteristic corddecorated pottery. Whether made of flax or hemp, they had rope. In fact the rope may refer to the basic idea of the biblical weaving technology (Byssus), which also has been found at the chieftain's grave at Hochdorf. 60

A rope is a length of fibres, twisted or braided together to improve strength for pulling and connecting. Rope is thicker and stronger than similarly constructed cord, line, string, and twine. In a sense of improving strength twisted cord may have been used to symbolize the power of marriage in which male and female partners join forces. The symbolism has also been described by Tacitus by “oxen joined in the same yoke”: “This they esteem the highest tie, these the holy mysteries, and matrimonial Gods. That the woman may not suppose herself free from the considerations of fortitude and fighting, or exempt from the casualties of war, the very first solemnities of her wedding serve to warn her, that she comes to her husband as a partner in his hazards and fatigues, that she is to suffer alike with him, to adventure alike, during peace or during war. This the oxen joined in the same yoke plainly indicate, this the horse ready equipped, this the present of arms.” It is hard to believe the rope used in the Corded Ware should merely represent some decoration instead of symbolizing a divine command to join forces by marriage. To me the rope in the Corded Ware equalizes the weaving technology in the red & blue clothes to produce the divine purple colour, which has been described in the books Exodus and Chronicles.

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Comparison to the Gagarino idol Both the Kurgan period (4th Millenium b. C.) and the "Corded Ware culture"-period (2880 b. C.-2000 b. C.) buried their women left sided and their men right sided as mirrored images, both facing towards the east. Generally the buried bodies are located to face the dawn's position and/or the sun. Facing the east and the south may refer to contacting the divine sun and the sun's birth at dawn.

Fig. 14: Comparing head-to-head-positions These positions are equivalent to the small sculpture in ivory of mammoth cm 14.8 high found in a Palaeolithic site (evolved Gravettian, about 21,800 years ago) at Gagarino27, Ukraine. In this sculpture two full-bodied human beings have been joined together by the neck. A similar androgynous head-tohead-position has been found at the grave of Sungir (near Moscow). 27:

Visit the source at: Institute for Ice Ages Studies

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The bodies are united by the heads, but turned to the opposite directions. Here we could see again the mystical concept of the unity of polarity.

Left-right differences at the Gogo people The left-right oriented gender differences may be found in more recent languages as well. In Central Tanzania the Gogo people define the right hand as muwoko wokulume, "the male hand", whereas the left hand is identified as muwoko wokucekulu, "the female hand". The Gogo people of Tanzania will also define the right side as •

the side the male partner lies on during intercourse and

•

the side on which male persons are to be buried.

In contrast the left side is the side: •

the female partner lies on during intercourse and

•

on which female persons are to be buried.

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Ochre28 Ritual pouring with red ochre has been registered in a great number of graves. A discussion paper suggests a reference between biology and red colour pigments. Red colour pigments became a symbolic vehicle through recognizing and relating. These developments led to the transformation of red ochre into human (female) blood, a basic element in the symbolism of the "mother" prevalent in present-day societies but probably also developed by Upper Palaeolithic and successive peoples.

References to androgynous symbolism Mirrored burial positions suggest references androgynous symbolism such as:

to other

•

Plato's androgynous creation legend

•

The Zohar's and other biblical androgynous creation legends

•

The sculpture found at Roquepertuse

•

the etymology of the divine names (e.g. Dyaeus, IHVH, IU-piter and dUI).

•

and many others...

An overview of these symbolisms will be documented in the next chapters of the Scribd-document The Sky-God Dyaeus.

28:

Red Ochre and Human Evolution: A Case for Discussion

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8 Text Manuscripts The Zohar The main Kabbalistic Hebrew book Zohar is available at several on-line-web-sources. In the Zohar the symbolism for the four characters of the sacred Tetragrammaton (YHVH respectively IHVH) is documented as follows: • The great Being in himself is both male and female. And who is He? The eternal One, En Soph, the boundless One, from whom hath proceeded all life and breath and all things29. • The two supreme letters of the divine name, Y & H are ruling and dominating the two remaining letters, V and H, that form their chariot30. • The letters yod and he symbolize the father and the mother31 • The V in the divine name IHVH is the son or child of the parents I and H, the Father and the Mother 32 The first man Adam has been created androgynous, with faces turning one to the right, the other to the left. Both the male and female half felt lonely and the halves had to be separated by God.

29:

Source: Zohar - Chapter 2 Source: Zohar - Chapter 3 31: Source: Zohar - Chapter 7 32: Source: Zohar - Chapter 12 30:

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The divine Being decorated the feminine half like a bride and did lead her in front of her male companion to see each other in the eyes for the very first time: “The Holy One then separated them and having clothed the latter in a form most fair and beautiful brought her to man, as a bride is adorned and led to the bridegroom. Scripture states that He took one of the sides or parts (of the androgynous form) and filled up the place with flesh in its stead. Then Adam and Eve ceased to be androgynous and gazed into each other's faces, as is the case with heaven and earth, the one reflecting the image of the other”33. The rainbow provides a special covenant's description in a 4headed and 4-colours scheme, referring divine symbolism to 3 animals: lion, the bull and the eagle. The Zohar documents: • It is termed the bow of the covenant, as the ray in the bow refracting in three others is one way, so is the celestial light reflected downward by the firmament supported by the four cherubic forms of the heavenly or divine chariot. Therefore it is forbidden to gaze at the rainbow that appears in the heaven because thereby the Schekina of which it is an image is profaned. • Above them is the glittering firmament, whose cardinal quarters reflect the image of each of their forms when turned towards them, as also the colours peculiar to each of them. They are the forms of a lion, an bull, an eagle and a man. 33:

Source: Zohar - Chapter 16

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In three of these, the human countenance is so prominent, that the lion resembles a lion-man and so with the two others, that are termed the eagle-man, the bull-man, and thus as scripture states, 'They four had the face of a man.'34 As the firmament was above them it not only reflected their forms but also the colours peculiar to each of them and that correspond to the four letters of the sacred name I. H. V. H. and visible to man, as green, red, white and blue35. A father- and a mother-symbol clearly identify the 4-headed idol as an androgynous symbol and there cannot be any doubt the androgynous deity En Soph should create an androgynous creature Adam as an image of the androgynous "Father and Mother"-Creator god.

The Matres Lectionis In the spelling of Hebrew and some other Semitic languages, Matres Lectionis36, refer to the use of certain consonants to indicate a vowel. The letters that do this in Hebrew are ‫א‬ aleph, ‫ ה‬he, ‫ ו‬waw (or vav) and ‫ י‬yod (or yud). The yod and waw in particular are more often vowels than they are consonants.

34:

Ez. 1:10 Source: Zohar - Chapter 57 36: Latin: "mothers of reading" 35:

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The four letters or the Tetragrammaton transliterated from Hebrew as:

are

usually

• IHVH in Latin, • JHWH in German, French and Dutch, and • YHWH in English. According to the entry “Tetragrammaton” in the English Wikipedia the third character "V" must be read as a placeholder for an "O"/"U" vowel. Most commonly in applying this rule of the Matres Lectionis, the Yod ‫ י‬indicates I or E, while Vav ‫ ו‬indicates O or U. If the third character "V" respectively "W" is to be a placeholder for "O"/"U" vowel, the Tetragrammaton may just as well be reduced to the basic androgynous IU-core, in which the first character "I" is a male and the third character "V" (or "U") represents the female element. A core IU in a divine name directly refers to IU-piter's core "IU" and Tuisco's core "UI", which both are equivalent androgynous symbols. This thesis however contradicts to the Zohar's explanation, in which "I" is the male and "H" represents the female element. Both letters "H" (He) in the Tetragrammaton however do not seem to contribute to the religious androgynous symbolism. Authors who define the Tetragrammaton's letter "H" as a main female symbol already lost the key to symbolism, which obviously has happened in the web-version of the Zohar and in the Kabbala by Papus.

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In contrast Helena Blavatsky correctly interpreted the androgynous symbolism in JHVH37, quoting: "We know from the Jewish records that the Ark contained a table of stone. . . . that stone was phallic, and yet identical with the sacred name Jehovah . . . which written in un-pointed Hebrew with four letters, is J-E-V-E or JHVH (the H being merely an aspirate and the same as E). This process leaves us the two letters I and V (in another form U); then if we place the I in the U we have the 'Holy of Holies'; we also have the Lingha and Yoni and Argha of the Hindus, the Isvara and 'supreme Lord'; and here we have the whole secret of its mystic and arc-celestial import, confirmed in itself by being identical with the Linyoni of the Ark of the Covenant." 38.

37:

quoting Hargrave Jennings' Phallicism: Celestial and Terrestrial (p. 67) in her book The Secret Doctrine (published 1888). 38: Page 1246

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Rashi's and Rashbam's Genesis The following quotations describe the relevant lines in Genesis:

Rashi's Genesis “God as Judge, alone without the angels, created the human being, by hand, in a mold which was like the mold with which a seal is made or like the die from which a coin is produced, and which had been specially crafted for the human being. In a mold which was a hologram image of God, God created the human being. One being which was both male and female and which was subsequently divided into two beings, God created them” 39 .

Rashbam's Genesis God said, 'Let us make humanity in our angelic image, like us in wisdom. The humans shall rule the fish of the sea, the birds of the heaven, the domestic animals, and all the earth, as well as the creeping things which creep over the earth'. God created humanity in the angelic image; in the image of the angels, God created humanity; God included the woman in the man and separated them later40.

39:

Rabbi Rashi 1040-1105, northern Europe (chapter 27)

40:

Rasbam, Rashi's Great Grandson, 1085-1174, northern Europe (Ch. 27)

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Plato's Banquet (Symposium) The first author, who clearly describes androgynous religion, is the Greek philosopher Plato, publishing his famous manuscript with the name Symposium around 380 b. C., in which he documents the creation of an androgynous human race. The book contains six speeches, but we will especially be interested in the fourth speech of this series, the speech by Aristophanes. Aristophanes describes how mankind in early days existed in another form, completely different from today. Their human bodies seem to have been living in pairs, being joined back to back, whereas their dual faces were looking into opposite directions, unable to see each other. Plato discerns the following dual combinations: man-woman, woman-woman, man-man and he defines them as Children of the Moon, Earth or Sun respectively. These dual corpses were extremely strong and they had high ambitions like rising up to the Olympic Mountain, into the house of gods. They really did spread fear among the divine family and Zeus did not know, how to solve the problem. Then, in a bright moment, he solved the problem by splitting the dual corpses each into couples: man and woman, man and man, woman and woman. Splitting the dual corpses also was advantageous in doubling mankind and halving their strength simultaneously. After halving these individuals, the male and female individuals immediately and desperately started searching their complementary part. Having found their original partner they would cling to these halves and refuse to ever let their partner go. 71

This way individual humans are attracted in pairs by a strange force called love and yet those who cling to each other for a lifetime cannot explain for what reason they need each other that much. The reason of course is our former composition of dual corpses, which must be joined to re-unite.

male-male “Adam” male-female “Adam”

Drawing 1: Four-headed Adam-Model In order to generate the three combinations man-woman, manman and woman-woman as proposed by Plato, we will need a 4-headed structure according to the previous drawing. The male-male-pair will result in a homosexual couple whereas the male-female-pair will generate the normal androgynous respectively heterosexual couple. The third woman-womanpair has not been symbolized for clarity. Basically this structure may be a reason for applying 4-headed godheads.

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The Greek philosopher Plato was the first author to write down the common creation legends of ancient eras. It may have been a sacrilege to publish these religious details in the open-minded world of Hellas, but Plato just describes androgynous people and not an androgynous Deity. He leaves no doubt about the supremacy of god Zeus, who remains the powerful masculine ruler in Hellas up till Christianity. Strange as it may seem we may identify a great number of androgynous deities among the main Indo-European gods. In Indo-European deities and in ancient sculptures we cannot identify any argument against the thesis all ancient creator-gods reveal an androgynous character. This thesis will be analysed in the next chapter of this book.

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9 The Bible Symbolic codings in the Bible Jeremiah ben Eleazar41, a Palestinian scholar of the 2nd century (living a few centuries after Plato), inferred from Ps. cxxxix. 5 that Adam was created with two faces, one of a man and one of a woman, and that God afterward cleft them asunder ('Er. 18a). In Gen. R. viii. 1 this opinion is ascribed to Samuel b. Naḥman, while Jeremiah's opinion is stated to have been that Adam was created a hermaphrodite42. Jeremiah, son of Eleazar, says: "God created Adam androgynous, but Samuel, son of Naḥman, says, He created him 'double-faced,' then cutting him in twain and forming two backs, one to the one and the other to the second" 43. The same statement is given in Moses ha-Darshan's Bereshit Rabbati44. The difference in the interpretation is that, according to Jeremiah's opinion, Adam had both sexes, and was thus a real hermaphrodite in the old mythical sense, identical with that conception of Hermes in which he is understood to be the "logos alethinos," the son of Maya, the bisexual primeval man of the East. 41:

Info from the website: Jewish Encyclopedia See the entry Androgynos at the Jewish Encyclopedia 43: see Bacher, "Ag. Pal. Amor." i. 547, iii. 585 44: "Pugio Fidei" p. 446, Paris, 1651 42:

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The Greek Hermaphroditus —represented by statues and on old gems, in which representations, however, bisexuality is scarcely indicated—has remained strange to the East and totally unknown to the Jews. In all the parallel passages in the Talmud, the opinion of Samuel b. Naḥman alone prevails, for we find regularly Adam (bifrons, double-fronted), as, for example: 'Er. 18a, Ber. 61a, etc. 45. The opinion expressed by Jeremiah is, however, very old and wide-spread, for we find the fathers of the Christian Church at pains to refute this "Jewish fable"; Augustine writes against it in his commentary on Genesis, ad loc. ch. 22. Strabos, agreeing with Augustine, declares this opinion to be one of the "damnatæ Judæorum fabulæ." Others revive the question, and Sixtus Senensis in his "Bibliotheca Sacra" devotes to it a special chapter 46. An alchemic interpretation has been given to "Adam androgynus," by Guil. Menens 47. Existing secret atbash- and abbam-coding-systems in the Bible suggest the use of other coding systems. One of these codingsystems may be the colouring scheme in Exodus and Chronicles. As these colours have been introduced by Moses they may have been inspired by Egyptian religion.

45:

Jastrow, "Dict." s.v., p. 304, 1 ed. Colon. 1586, fol. 344, 345 47: "Aurei Velleris libri tres, Theatrum chemicum," vol. v., p. 275, Argent., 1660 46:

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In androgynous religion the coding schema defines the following basic symbols: • red / scarlet / crimson = the female (= yin) symbol • blue = the male (= yang) symbol, individually to be used for the priests • purple = the androgynous / joined / matrimonial symbol • Byssus, fine linen, from Hebrew būṣ 'fine linen', referring to fine linen and twined material • twine = intensely joining (marriage, the matrimonial couple) • rainbow = divine symbol in Genesis with it's bordering colours red and blue The now following Biblical coding system in twining and colouring can be understood by comparing the identical technology and colouring system for the clothes and towels in the burial tomb at Hochdorf at the river Enz, Southern Germany.

Book Exodus 25: 3This is the offering which you shall take from them: gold, silver, brass, 4blue, purple, scarlet, fine linen, goats’ hair, 5rams’ skins dyed red, sea cow hides, acacia wood, 6oil for the light, spices for the anointing oil and for the sweet incense, 7onyx stones, and stones to be set for the ephod and for the breastplate.

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26: “Moreover you shall make the tent with ten curtains; of fine twined linen, and blue, and purple, and scarlet, with cherubim. The work of the skillful workman you shall make them. 4You

shall make loops of blue on the edge of the one curtain from the edge in the coupling; and likewise shall you make in the edge of the curtain that is outmost in the second coupling. 14You

shall make a covering for the tent of rams’ skins dyed red, and a covering of sea cow hides above. 31“You

shall make a veil of blue, and purple, and scarlet, and fine twined linen, with cherubim. The work of the skillful workman shall it be made. 36“You

shall make a screen for the door of the Tent, of blue, and purple, and scarlet, and fine twined linen, the work of the embroiderer. 37You shall make for the screen five pillars of acacia, and overlay them with gold: their hooks shall be of gold: and you shall cast five sockets of brass for them. 27: 9“You shall make the court of the tent: for the south side southward there shall be hangings for the court of fine twined linen one hundred cubits long for one side: 10and the pillars of it shall be twenty, and their sockets twenty, of brass; the hooks of the pillars and their fillets shall be of silver. 16For

the gate of the court shall be a screen of twenty cubits, of blue, and purple, and scarlet, and fine twined linen, the work of the embroiderer; their pillars four, and their sockets four. 18The

length of the court shall be one hundred cubits, and the breadth fifty every where, and the height five cubits, of fine twined linen, and their sockets of brass. 78

28: 5They shall take the gold, and the blue, and the purple, and the scarlet, and the fine linen. 6“They shall make the ephod of gold, of blue, and purple, scarlet, and fine twined linen, the work of the skilful workman. 7It shall have two shoulder-pieces joined to the two ends of it, that it may be joined together. 8The skilfully woven band, which is on it, that is on him, shall be like its work and of the same piece; of gold, of blue, and purple, and scarlet, and fine twined linen. 15“You

shall make a breastplate of judgment, the work of the skilful workman; like the work of the ephod you shall make it; of gold, of blue, and purple, and scarlet, and fine twined linen, shall you make it. 28They

shall bind the breastplate by the rings of it to the rings of the ephod with a lace of blue, that it may be on the skillfully woven band of the ephod, and that the breastplate may not swing out from the ephod. 35: 5 Take from among you an offering to Yahweh. Whoever is of a willing heart, let him bring it, Yahweh’s offering: gold, silver, brass, 6blue, purple, scarlet, fine linen, goats’ hair, 7rams’ skins dyed red, sea cow hides, acacia wood, 8oil for the light, spices for the anointing oil and for the sweet incense, 9onyx stones, and stones to be set for the ephod and for the breastplate. 23Everyone, with whom was found blue, purple, scarlet, fine linen, goats’ hair, rams’ skins dyed red, and sea cow hides, brought them. 25All

the women who were wise-hearted spun with their hands, and brought that which they had spun, the blue, the purple, the scarlet, and the fine linen. 79

35He

has filled them with wisdom of heart, to work all manner of workmanship, of the engraver, of the skillful workman, and of the embroiderer, in blue, in purple, in scarlet, and in fine linen, and of the weaver, even of those who do any workmanship, and of those who make skillful works. 36:8All the wise-hearted men among those who did the work made the tent with ten curtains; of fine twined linen, blue, purple, and scarlet, with cherubim, the work of the skillful workman, they made them. 11He

made loops of blue on the edge of the one curtain from the edge in the coupling. 35He

made the veil of blue, purple, scarlet, and fine twined linen: with cherubim. He made it the work of a skillful workman. 37He

made a screen for the door of the tent, of blue, purple, scarlet, and fine twined linen, the work of an embroiderer; 38 18The screen for the gate of the court was the work of the embroiderer, of blue, purple, scarlet, and fine twined linen. 23With

him was Oholiab, the son of Ahisamach, of the tribe of Dan, an engraver, and a skillful workman, and an embroiderer in blue, in purple, in scarlet, and in fine linen. 39 Of the blue, purple, and scarlet, they made finely worked garments, for ministering in the holy place, and made the holy garments for Aaron; as Yahweh commanded Moses. 2He made the ephod of gold, blue, purple, scarlet, and fine twined 80

linen. 3They beat the gold into thin plates, and cut it into wires, to work it in the blue, in the purple, in the scarlet, and in the fine linen, the work of the skillful workman. 4They made shoulder-pieces for it, joined together. At the two ends it was joined together. 5The skillfully woven band that was on it, with which to fasten it on, was of the same piece, like its work; of gold, of blue, purple, scarlet, and fine twined linen; as Yahweh commanded Moses. 8He

made the breastplate, the work of a skillful workman, like the work of the ephod; of gold, of blue, purple, scarlet, and fine twined linen. 21They

bound the breastplate by its rings to the rings of the ephod with a lace of blue, that it might be on the skillfully woven band of the ephod, and that the breastplate might not come loose from the ephod, as Yahweh commanded Moses. 22He

made the robe of the ephod of woven work, all of blue.

24They

made on the skirts of the robe pomegranates of blue, purple, scarlet, and twined linen. 27They

made the coats of fine linen of woven work for Aaron, and for his sons, 28and the turban of fine linen, and the linen headbands of fine linen, and the linen breeches of fine twined linen, 29and the sash of fine twined linen, and blue, and purple, and scarlet, the work of the embroiderer, as Yahweh commanded Moses. 30They

made the plate of the holy crown of pure gold, and wrote on it a writing, like the engravings of a signet: “HOLY TO YAHWEH.” 31They tied to it a lace of blue, to fasten it on the turban above, as Yahweh commanded Moses. 81

The Second Book of Chronicles For the people of Israel the temple had been created by Yahweh, who revealed his plans to his chosen 48. Thus Yahweh said to Moses: "And let them make me a sanctuary; that I may dwell among them" 49 And as David is handing out the plans for the temple-buildings, the tabernacle and all the utensils to his son Solomon he assures him that: "all this ... the Lord made me understand in writing by his hand upon me" 50. And Solomon confirms to YHWH: "Thou hast commanded me to build a temple upon Thy holy mount, and an altar in the city wherein Thou dwellest, a resemblance of the holy tabernacle which Thou hast prepared from the beginning" 51. Although the Covenant Tent and the Temple reveal a completely different character it may be noted that God's prescription for the colouring code remains identical to both David and Solomon. The Second Book of Chronicles reports: 48:

Mircea Eliade, In the Sacred and the Profane-The Nature of Religion. Exodus 15,8-9. 50: II Chronicles, 28, 19 51: Wisdom of Solomon, 9, 8 49:

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27Now therefore send me a man skilful to work in gold, and in silver, and in brass, and in iron, and in purple, and crimson, and blue, and who knows how to engrave all manner of engravings, to be with the skilful men who are with me in Judah and in Jerusalem, whom David my father did provide. 313Now I have sent a skillful man, endowed with understanding, of Huram my father’s, 14the son of a woman of the daughters of Dan; and his father was a man of Tyre, skillful to work in gold, and in silver, in brass, in iron, in stone, and in timber, in purple, in blue, and in fine linen, and in crimson, also to engrave any manner of engraving, and to devise any device; that there may be a place appointed to him with your skillful men, and with the skillful men of my lord David your father.

Categorizing Bibles The colour codings in the medieval Bibles may be discerned and categorized in several ways. In order to statistically analyse the great number of codices available the Austrian National Library I decided to study the book “Die prächtigsten Bibeln52”. The most expensive codices used a vellum made of sheepskin coloured in purple and written with sparkling golden and silver or white ink. The purple colour had been a divine symbol, which had also been reserved by Roman emperors, who of course had promoted themselves to deities.

52:

Die prächtigsten Bibeln by Andreas Fingernagel – published 2008, ISBN: 978-3-8365-0297-6

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Normal codices had to be written in brown or black inks. Special topics used to be highlighted in gold, or in a replacement yellow colours made from arsenic sulfides. Most of the coloured manuscripts were using red and blue for decorations. These decorations however may very well be referring to special religious symbols, which may become clear in the followings chapters. The following categorisation may apply in the study of colouring aspects: • • • •

expensive codices (in purple, gold, silver and white) red and blue coloured codices non red and blue coloured codices (the Rado-Bible) non coloured codices (simpler manuscripts)

As already described in the specified previous books the overwhelming application of the colours red and blue seems to be referring to the previously described relevant colouring codes in the texts of the Pentateuch and/or androgynous symbolism as documented in the web-manuscript: The SkyGod Dyæus. An overview of other details referring to the symbolism in the colouring codes of red, blue and purple may be found in: The Fundamental colour Symbols Blue and Red.

The Rado-Bible As far as I see there is one exception to standard colouring scheme. The Rado-Bible or Carolingial Bible created around 850 AD53 is using another scheme by applying green, red and yellow in their initial lettering symbols. Obviously the monks who created this early codex did not know or follow the colouring standards, which have been applied in later years. 53:

Northern France

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Red & blue Initials Most of the biblical codices have been copied from earlier manuscripts and they seem to have followed strict rules in depicting the biblical symbolism. An early codex is named the Bolognese Bible with ornamental initials referring to St. Paul's letter to Philemon: In fact the colours red and blue prevail in this page at the initials, in the heading line at the topside of the pages and in the decorations at the side of the pages.

Background colours Alternating red and blue backgrounds in the Bible (Goslar Evangeliar, ca. 1240 AD) may also be referring to androgynous symbolism in the Bible.

Heading lines Generally the heading lines are seen to alternate blue and red letters. Although most lines start with a red letter the system does not seem to select a special colour for the very beginning of the headlines as may be observed in an overview of headerlines.

Initial lines Obviously the initial lines are following the same colouring code in alternating red and blue letters. These lines start with an initial letter which combines several colours, including red and blue letters.

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Fig. 15: Headerlines from several medieval Bibles

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Some codices are applying alternating red and blue letters for long texts covering a number of lines. As a remarkable fact God's image54 also combines a red and blue garment.

Fig. 16: Initial Ancient History (14th Century) Initial for the letter L = Liber Generationis including a number of blue and red and yellow (golden) decorations. The Utrechter “historical” Bible55 from Evert van Soudenbalch (in Dutch language) does contain a great number of initials combining blue and red colouring codes in singular letters.

54:

while giving the blessings Codex 2772, fol. 198v (III Maccabeorum = Josephus Flavius, Antiquitates XIII-XVI) 55:

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La Divina Commedia Even Dante's manuscript starts with a coloured line La Divina Commedia:

Fig. 17: La Divina Commedia

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The initials of the first line apply purple and golden ornamental letters. The text now follows with alternating letters at the first lines of the Divina Commedia:

N

EL MEZ ZO DEL CA MMI N

DI NOSTRA VITA

mi ritrovai per una selva oscura, ...

Obviously the initial letters for each line are chosen as to preferably alternate the front line of the page as well. Dante Alighieri's codex for the Divina Commedia (1308) has been written using initials in alternating red and blue colours. This method may be compared to the coding rules in writing a medieval Bible...

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The weaving of words According to the basic principles of androgynous religion most medieval Bibles preferred the colours red and blue as religious symbols for ornaments. God saw the light, and saw that it was good. God divided the light from the darkness. God called the light Day, and the darkness he called Night. This is the first symbolic division in which the colour red symbolizes the daylight and the sun, whereas blue symbolizes the moon and the twilight. The evening correlating to Eve may be corresponding to the female element and the daylight to the male symbol of creation. The following layout for the Book Genesis explains the basic idea of weaving words like human beings symbolized by male and female persons as married couples. Initially man had started as a couple of two individuals coloured red and blue, which had to multiply. The individuals grew to a large number of human beings which intermixed to purple coloured masses. The words have been written in alternating colours red and blue suggesting a growth of the population by decreasing the letter size from 36 to 4 points. The last lines will not be printed in alternating red and blue, but in plain purple colours. Some original pictures from medieval Bibles illustrate the idea as a medieval concept for coding the basic symbolism the the ancient manuscripts. The weaving of words corresponds to the high density weaving of the burial garments in blue & red for the sovereign at Hochdorf, which from a distance will also be seen as a purple garment.

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The following example applies a 4-point sized Genesis text in Old English Text MT over 2 A5-sized pages to demonstrate the illusion of a purple coloured text, enclosed inside two headerlines of the Korczek-Bible (Prag- around 1410).

Fig. 18: Headerline Korczek-Bible (Prag- around 1410) In the beginning God56 created the heavens and the earth. Now the earth was formless and empty. Darkness was on the surface of the deep. God’s Spirit was hovering over the surface of the waters. God said, “Let there be light,” and there was light. God saw the light, and saw that it was good. God divided the light from the darkness. God called the light Day, and the darkness he called Night. There was evening and there was morning, one day. God said, “Let there be an expanse in the midst of the waters, and let it divide the waters from the waters.” God made the expanse, and divided the waters which were under the expanse from the waters which were above the expanse, and it was so. God called the expanse sky. There was evening and there was morning, a second day. God said, “Let the waters under the sky be gathered together to one place, and let the dry land appear,” and it was so. God called the dry land Earth, and the gathering together of the waters he called Seas. God saw that it was good. God said, “Let the earth put forth grass, herbs yielding seed, and fruit trees bearing fruit after their kind, with its seed in it, on the earth,” and it was so. The earth brought forth grass, herbs yielding seed after their kind, and trees bearing fruit, with its seed in it, after their kind: and God saw that it was good. There was evening and there was morning, one day, a third day. God said, “Let there be lights in the expanse of sky to divide the day from the night; and let them be for signs, and for seasons, and for days and years; and let them be for lights in the expanse of sky to give light on the earth,” and it was so.

Fig. 19: Headerline Korczek-Bible (Prag- around 1410)

Complementary phases in Red and Blue Six divine creation phases seem to correlate to splitting phases, which may correlate to symbolic colours. The created objects may be listed in the correct sequence of occurrence. Except for the fishes, the birds and man all red coloured symbols seem to occur in the first place. Traditionally male and female persons have been symbolized by different colours, but the correct definition has been blurred in the course of time. 56:

1:1 After “God,” the Hebrew has the two letters “Aleph Tav” (the first and last letters of the Hebrew alphabet) as a grammatical marker.

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Day

First mentioned

Last mentioned

1

light - Day

darkness - Night

2

waters under the expanse (sea – salt water)

waters above the expanse (rain – sweet water)

3

Earth

Seas

4

greater light (sun-day)

lesser light (moon-night)

5

waters (fishes)

earth (birds)

6

man (male) man (male)

man (female) man (female)

Table 2: Creation phases in Book Genesis Let's check the different phases in detail. The keywords and a few lines of text will be highlighted in the medieval symbolic colours red and blue.

In the beginning In the beginning God57 created the heavens and the earth. Now the earth was formless and empty. Darkness was on the surface of the deep. God’s Spirit was hovering over the surface of the waters. God said, “Let there be light,” and there was light. God saw the light, and saw that it was good. God divided the light from the darkness. God called the light Day, and the darkness he called Night. There was evening and there was morning, one day. Traditionally the Egyptians painted the greater light (the sun) red and the the lesser light (the moon) blue. 57:

1:1 After “God,” the Hebrew has the two letters “Aleph Tav” (the first and last letters of the Hebrew alphabet) as a grammatical marker.

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A second day God said, “Let there be an expanse in the midst of the waters, and let it divide the waters from the waters.” God made the expanse, and divided the waters which were under the expanse from the waters which were above the expanse, and it was so. God called the expanse sky. There was evening and there was morning, a second day.

Fig. 20: God's hand to Noah (Viennese Codex - 6th Cent.) Standard colours in this section may only be understood if the expanse may be understood as a rainbow, which reveals blue colour at the upper border and red colours at the lower border. The main rainbow has been a divine symbol to the ancient people. As a remarkable fact the Bible never refers to the second minor rainbow, which displays a reversed sequence of colours. 93

A third day God said, “Let the waters under the sky be gathered together to one place, and let the dry land appear,” and it was so. God called the dry land Earth, and the gathering together of the waters he called Seas. God saw that it was good. God said, “Let the earth put forth grass, herbs yielding seed, and fruit trees bearing fruit after their kind, with its seed in it, on the earth,” and it was so. The earth brought forth grass, herbs yielding seed after their kind, and trees bearing fruit, with its seed in it, after their kind: and God saw that it was good. There was evening and there was morning, one day, a third day. There hardly can be any doubt in defining the earth red and the seas blue.

A fourth day God said, “Let there be lights in the expanse of sky to divide the day from the night; and let them be for signs, and for seasons, and for days and years; and let them be for lights in the expanse of sky to give light on the earth,” and it was so. God made the two great lights: the greater light to rule the day, and the lesser light to rule the night. He also made the stars. God set them in the expanse of sky to give light to the earth, and to rule over the day and over the night, and to divide the light from the darkness. God saw that it was good. There was evening and there was morning, one day, a fourth day. Traditionally the Egyptians painted the greater light (the sun) red and the the lesser light (the moon) blue. As a remarkable fact the night is not dark, but lighted by the lesser light (moon). 94

A fifth day God said, “Let the waters swarm with swarms of living creatures, and let birds fly above the earth in the open expanse of sky.” God created the large sea creatures, and every living creature that moves, with which the waters swarmed, after their kind, and every winged bird after its kind. God saw that it was good. God blessed them, saying, “Be fruitful, and multiply, and fill the waters in the seas, and let birds multiply on the earth.” There was evening and there was morning, a fifth day. There hardly can be any doubt in defining the earth red and the seas blue.

A sixth day God said, “Let the earth bring forth living creatures after their kind, cattle, creeping things, and animals of the earth after their kind,” and it was so. God made the animals of the earth after their kind, and the cattle after their kind, and everything that creeps on the ground after its kind. God saw that it was good. God said, “Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the birds of the sky, and over the cattle, and over all the earth, and over every creeping thing that creeps on the earth.” God created man in his own image. In God’s image he created him; male and female he created them. God blessed them. God said to them, “Be fruitful, multiply, fill the earth, and subdue it. Have dominion over the fish of the sea, over the birds of the sky, and over every living thing that moves on the earth.” 95

The overview of the sixth day reveals only a singular splitting phase at this sixth day: the separation of the first human being man into a male and female person, which is to be described in Genesis later. God said, “Behold, I have given you every herb yielding seed, which is on the surface of all the earth, and every tree, which bears fruit yielding seed. It will be your food. To every animal of the earth, and to every bird of the sky, and to everything that creeps on the earth, in which there is life, I have given every green herb for food.” And it was so. God saw everything that he had made, and, behold, it was very good. There was evening and there was morning, the sixth day.

A seventh day The heavens and the earth were finished, and all the host of them. On the seventh day God finished his work which he had made; and he rested on the seventh day from all his work which he had made. God blessed the seventh day, and made it holy, because he rested in it from all his work which he had created and made.

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The divine garments Garments for the Creator God The Creator God will often wear red and blue colour combinations in either the garments or the head's decorations58. Additionally yellow is used to indicate gold as a precious symbol.

Fig. 21: Creator God in red and blue garments 58:

Codex 1179, fol. 1v (Genesis)

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Please note the upper line in alternating blue and red letters illustrating the Creator God in “Bibles moralisées” (dated 1275)

Garments for Jesus Christ Also the garments for Jesus Christ will often apply red and blue or purple combinations as seen in the following example from “Speculum Humanae Salvationis” (dated 1336):

Fig. 22: Jesus Christ being kissed by Judas(1336)

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Creation of Adam and resolving Eve Most of the creation phases depict a full-grown and adult Eve, which is being resolved from the backside (in fact the correct translation for the back-side) of the androgynous Adam. The Creator often wears either a purple or white garment or is dressed in a red and blue combination. We will depict a few of these creation phases: The following table lists an overview of the (15) main illustrated codices available at the KHM in Vienna. Except for the Rado-Bible these manuscripts will always apply some combinations of red and blue, which will be found in the header-lines, in the initials, in the garments and in the other decorations.

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Codex

Year

Main colours

colours in headers and initials

Divine garments

Vienna

550

red/blue/white

-

red/blue/ white

Rado

875

Yellow/red/ green

Yellow/red/ green

-

Paris

1250

red/blue

red & blue

red/blue

Admont

1150

red/blue/green

red

red/blue

Lilienfeld

1225

red/blue/green

red & blue

red/green

Krems

1275

red/blue

red & blue

red/blue

Wenzel

1390

red/blue/gold

red/blue/gold

red/blue

Korczek

1400

purple/green/ gold

red & blue

purple

Neapel

1360

red/blue

red & blue

white

Eberler

1464

red/blue/green

red

red/blue/ green

Schreier

1472

red/blue/green

red & blue

red/purple/ green

Utrecht

1430

red/blue/gold

red ; initials in red & blue

purple

Hieronymos

1488

red/blue/gold

red & blue

red/blue

Utrecht

1460

red/blue/green

red ; initials in red & blue

purple

Paris

1225

red/blue/gold

1308

red/blue/gold

59

Dante

red/blue red/blue

red/blue

Table 3: Categorisation of medieval Bibles 59:

Vatican Codex of La Divina Commedia (approximately 1308)

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The divine image in the early Middle Age Early biblical symbolism describes God as a man hidden in the sky, inside the sun or in a cloud. The following image found in the Vienna Bible from the sixth century symbolizes God as a red-coloured man sending yellow-golden sun-rays to Joseph, lying on his bed. The moon does contain a blue-coloured woman with cow-horns like an Egyptian deity. The stars have been painted like asterisks in an Egyptian grave.

Fig. 23: Male Sky-God (Viennese Codex - sixth Cent.) In early Middle Age some medieval people obviously believed in a male God located in the sky, in the sun or inside a cloud, accompanied by a woman.

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Another painting in the Vienna-codex symbolizes God as a redcoloured hand from the sky reaching to a rainbow and sending a signal to Noah and his relatives.

Fig. 24: God's hand to Noah (Viennese Codex - 6th Cent.) Although there a written proof seems to be missing, red and blue are to be considered as religious symbols. Obviously the colours may be related to the sun and the moon, which are known as religious elements representing male and female attributes. These symbols have been observed in the biblical decorations as well. The sun and moon will always be identified by opposite genders. The Mediterranean peoples identified a male sun (“Sol”) accompanied by a female moon (“Luna”). In Egyptian traditional colourings the male sun has usually been displayed by a red circle (and only in seldom cases by a yellow disc), whereas the female moon is being attributed by blue light. 102

At the northern side of the Alps the genders are reversed. In German language the sun is female and the moon is a male symbol. The medieval Bibles seem to depict the male moon as a blue object, which will also refer to the blue colourings for the warriors' faces as documented by Julius Caesar in “De Bello Gallico”. This leaves the identification for the male and female symbols open. There may be a clear distinction in gender symbolism between red and blue, but we cannot be sure which gender is to be attributed to the basic colours. As fas as I can see red seems to have been male in southern areas (e.g. Egypt) whereas red may have been female in northern areas (e.g. Germany). Of course the blue colours will always refer to the opposite gender, whereas purple is a divine mixture of red and blue.

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10 The garments A language for icons In the icons of Eastern Orthodoxy, and of the Early Medieval West, very little room is made for artistic license. Almost everything within the image has a symbolic aspect. Christ, the saints, and the angels all have halos. Angels (and often John the Baptist) have wings because they are messengers. Figures have consistent facial appearances, hold attributes personal to them, and use a few conventional poses. A few colours play an important role: gold, purple, red, blue and white. Jesus wears red undergarment with a blue outer garment (God become Human) and Mary wears a blue undergarment with a red upper garment. Letters are symbols too. Most icons incorporate some calligraphic text naming the person or event depicted, often presented in a stylized manner. In later Western depictions, much of the symbolism survives, though there is far less consistency. An icon of Our Lady of Czestochowa, one of the national symbols of Poland60. In religious icons colour plays an important role, especially gold, red, blue and white. Jesus Christ wears red undergarment with a blue outer garment and Mary wears a blue undergarment with a red outer garment.

60:

Free photograph from Wikipedia.

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Fig. 25: Our Lady of Czestochowa In the icons of Eastern Orthodoxy, and of the Early Medieval West, very little room is made for artistic license. Almost everything within the image has a symbolic aspect. In later Western depictions, much of the symbolism survives, though there is far less consistency. Some icons will also purple garments as a alternative and as a mixture for red and blue.

Maria's medieval garments In medieval paintings the garments for Maria seem to have been structured in a standard coloring scheme. In most paintings the outer garment reveals a blue robe, whereas the inner garment or applies a red material. Sometimes an additional yellow veil or towel will be used. These statistics may easily be checked in a well supplied art museum such as the Pinakothek-museum in Munich,Germany. 106

Artwork has mainly be selected randomly from „Artwork from A till Z with 1200 paintings 61. As black is a very seldom color in oil paintings some of the colouring may originally have been dark blue, which in the course of the centuries transformed into black. Analysis of 33 selected paintings ranging from 1295 up to 1938 reveals 21 matches for standard compositions, which is equivalent to approximately 66%. According to the table paintings created from 1800 up to today do not follow the general standard composition rules, which suggests the symbolism may have been lost around the end of the 18th century. Of course these coloring conventions may have been derived from the Bible, which prescribes red and blue and purple for religious garments62. This statistical analysis merely includes one painting for an artists and may not be a neutral research base. Another approach will be based on a database with 5555 (noncopyrighted) Masterpieces63. Evaluation of all 510 paintings 64 for artists with names starting with a letters „A“ respectively „B“ result in the following 50 paintings with a Maria-depiction. Analysis of these 50 selected paintings ranging from 1350 up to 1600 reveals 34 matches for standard compositions, which is equivalent to approximately 66%. Both methods for analysis result in approximately 66% of standard colours (red for the inner robe and blue for the outer robe) for Mary.

61:

Schilderkunst van A tot Z, ISBN: 9036605970, 9789036605977 see the previous chapter of the Bible and the Sephiroth. 63: Die virtuelle Gemäldegalerie, ISBN: 3-932544-65-X 64: 9% of a total of 5555 paintings 62:

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This is a remarkable proof for the theory that from Middle Ages Mary's garments have been following a standard colouring system.

The garments in the Manessa Codex In Middle Age the royal garments corresponded to the rules for icon painting. The basic principle may easily be identified at the paintings of the Codex Manesse65, stored at the Heidelberg University and available as web-documents. The colour coding in red and blue has not been restricted to garments but has also been applied in decorating the text, in which merely red and blue symbolic elements will be discovered.

The emperor Henry The emperor Henry has been depicted in a purple-red overcoat and a blue undercoat. The borderline decorations consist of red and blue elements as well.

Fig. 26: Emperor Henry (detail Codex Manesse) 65:

Cod. Pal. germ. 848, Codex Manesse, Zurich, 1305 bis 1340

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King Tyro from Schotten According to the icon's codex King Tyro from Schotten wears a blue overcoat and a red undercoat. His (female or male ?) partner wears a red overcoat and a blue undercoat. The king therefore meets the rules for painting Christ's icon and the partner meets the rules for painting Maria's icon. The borderline decorations apply the divine colour combinations red & blue. • weblink to the page King Tyro from Schotten

King Wenzel from Bohemia According to the divine garment-codes King Wenzel from Bohemia is wearing a blue overcoat and a red undercoat whiloe residing on a purple throne. The king has been dressed according to the icon-codex for Christ's images. • weblink to the page King Wenzel from Bohemia

King Conrad junior King Conrad junior wears a green garment, probably because he has been displayed in a hunting scene. The borderline decorations apply the divine colour combinations red & blue. • weblink to the page King Conrad junior

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The lower aristocracy The lower aristocracy hardly uses red and blue, but the borderline decorations will often apply the divine colour combinations.

The Register The register for the Codex Manesse applies alternating initials for subsequent lines → see the complete web-document at: 4v: Register

Fig. 27: Register for Codex Manesse

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11 Etymology for the Word “Paars” A resurrection for dead words From time to time I wake up in the middle of the night from a bad dream in which a particular word has only survived in one single language, being lost forever in German, French and English and other languages as well. The dead word is barely alive and may only be understood if we study the ancient remains of the prehistoric colour coding. It was only yesterday I started a discussion with my friend Stephan, who claimed the world purple cannot be explained as a religious symbol, because “purple” has been derived from the special snail from the Mediterranean area, where clever people managed to produce and export a very expensive dye by boiling huge portions of snails in large pots. My antithesis the purple colour originally had to be woven from red and blue coloured threads could not convince Stephan. Obviously purple robes had become ceremonial objects at a time in which the original androgynous symbolism had been lost. The very next morning however I woke up after a thoughtdream about the Dutch adjective “paars”, which still preserves the true symbolism of the English word “purple”. In fact purple is a mixed dye originally identifying a couple or a pair, composed from a woman (as a red symbol) and a man (as a blue66 symbol). 66:

There is some evidence the blue colour symbolizes a female element and the red colour symbolizes a male element at the southern side of the Alps.

111

Paars is the colour for the “peers” The official etymological explanation for “paars” is obscure. Etymological experts suggest a derivation from Persae 'Persians', Persia 'Persia' and perzik (Peach). The main etymological database http://www.etymologie.nl/ reveals the following entries for medieval words around 1300 AD: paars Substantive (as a 'colour') Mnl. perse 'purple (sheet)' [1294; VMNW], perse saye 'purple woolen sheets' [1296; VMNW], peers bruxsch lakene ' purple sheets from Brugge' [1343-44; MNW], groen of blaeu of root of paers [ca. 1475; MNW]. Two documents from 1672 and 1742 reveal references to the words „Paars“ respectively „Pers“, which may be analysed in details. Both documents describe an assembly hall for the peers of Leiden, called „Paars“ or „Pers“. Basically these words have been derived from Latin „Pares“, the “equals”. In French the word “pair” translates to “peer” and is equivalent to the medieval Dutch idea of “paars” or “pers”.

112

Korte besgryving van het Lugdunum Batavorum nu Leyden door Simon van Leeuwen – 1672 Het selve Stadhuys is soo onder als boven in verscheide plaatsen verdeelt, elk tot sijn byfonder gebruyk, als fijn boven de Grote Vroedschaps-kamer, Burgermeesters kamer, Schepens kamer, Secretarie, Griffie ende Weeskamer, voor ende tussen dewelke een groote Wandelplaats, dat men de Paars nomt, ten eynde van dewelke twee vertrekken voor sijn, daar de Burgen alle nagten de wagt houden. Boven deselve Paars is de Artelerie ende Wapen-kamer, Hedendaegsche historie... - Seite 523 Thomas Salmon, Jan Wagenaar, Matthias Van Goch – 1742 Langs den eerst beschreeven' Buiten-opgang van twintig trappen naar bovengaande, komt men op eene ruime Zaal, gemeenlyk de Paars of Pers genaamd, die zeventig treden lang is. In order to understand why “purple” and “paars” may have been used as religious symbols we will have to study medieval colouring theories in the next chapters.

113

114

12 Flags The Tricolour of France (1358) During the Middle Ages, these colours came to be associated with the reigning house of France. In 1328, the coat-of-arms of the House of Valois was blue with gold fleurs-de-lis bordered in red. From this time on, the kings of France were represented in vignettes and manuscripts wearing a red gown under a blue coat decorated with gold fleurs-de-lis. It should be noted that, in liturgical symbolism, gold is the equivalent of white. Wearing a red gown under a blue coat for kings corresponds to the red undergarment with a blue outer garment for Jesus Christ in icons and medieval paintings. Obviously the kings had adopted the divine clothing codes from the Book Exodus. The blue and red of the flag have been the colours of Paris since 1358 when they were used by the followers of Etienne Marcel, then leader of a Parisian revolt against the King of France and the Dauphin. In 1794, the Convention officially adopted the tricolour, the Commander of the Guard, Lafayette, having reputedly added the royal white between the blue and the red.

Fig. 28: The Tricolour of France (1358)

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The flag of the Netherlands (1572) The flag of the Netherlands is a horizontal tricolour of red, white, and blue. Introduced in 1572, it is one of the first tricolours and the oldest tricolour still in use today. Since 1937, the flag has officially been the national flag of the Netherlands and of the Kingdom of the Netherlands. The provinces of the Low Countries, rose in revolt against King Philip II of Spain, and the Prince of Orange placed himself at the head of the rebels. The Watergeuzen (proindependence privateers), acting on his instructions, harassed the enemy everywhere they could and they did this under a tricolour Orange White Blue ("Orange Blanche Blue", or in Dutch: "Oranje Wit Blauw"/"Oranje Blanje Bleu"), the colours of the Prince's coat of arms. It was thus a flag easily associated with the leader of the rebellion, and the association was also expressed in the name: "the Prince's Flag." In an atlas of Kittensteyn, the first Red White and Blue flag can be seen on a painting imaging a battle between the Watergeuzen and the Spaniards. This date was early on in the Eighty Years' War, the Dutch war of independence. Hence 1572 is the official year of the introduction of this banner.

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References to related documents •

Another Etymology for Purple

•

Paint It Purple - A short History of painting Red and Blue

•

Genesis - Weaving the Words in Red and in Blue

•

Hochdorf Revisited - A reconstructed Celtic Site

•

The Sky-God Dyæus

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13 A Survey of Androgynous Godheads The authors Mircea Eliade and Rens van der Sluijs document an overwhelming long list of supreme, androgynous CreatorGods in their works: • Adam was originally androgynous: Adam and Eve were created back to back, attached at their shoulders; then God separated them with an axe, or cut them in two. Others have a different picture: the first man, Adam, was a man on his right side, a woman on his left; but God split him into two halves 67. • Several of the most ancient gods in Egypt were bisexual68. • Tammuz, Enki and Ninurta have androgynous aspects69. • Bel and Belit may originally have been an androgynous god 70. • Aštart may appear in a masculine form, sometimes with the characteristics of the masculine sex. Certain authors have offered the hypothesis of an androgynous Ištar 71.

67:

Bereshit Rabbah I. 1, fol. 6, col. 2:Patterns in Comparative Religion : 423 Mircea Eliade - Patterns in Comparative Religion: 421f. 69: D. N. Talbott, The Saturn myth; a reinterpretation of rites and symbols illuminating some of the dark corners of primordial society, 1980: 88

68:

70:

Mircea Eliade - Patterns in Comparative Religion : 422

71:

J. Leclant: ‘Asurté à Cheval, d'après les Représentations Egyptiennes’, Syrie, 37 (1960): 7, cited in Z. Rix, ‘The androgenous comet’, SIS Review, I. 5 (1977): 17-19)

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• In South-Arabia too Atar probably was a hermaphroditic god 72. • The designation ‘duplex Amathusia’ for Aphrodite of Amathus73 tems from the double sex of the Cyprian deity. She was represented in art with a beard 74. • Kronos is given the title Man-Woman 75. • Dyaus, the ancient sky, was androgynous, and so was Purusha, the primeval man 76. • Plato’s ‘first man’, who had a spherical body (Plato, Symposium) is described as an androgynous person to be split by Zeus 77. • The Germanic figures of Odin, Loki, Tuisco and Nerthus all preserve traces of androgyny 78. • The Chinese knew of a hermaphroditic Supreme Divinity, who was the god of darkness and light 79. • Australian and Oceanic aboriginals claim bisexuality for the first man 80. • Quetzalcoatl has androgynous aspects 81. 72:

U. Oldenburg, ‘Above the stars of El: El in ancient South Arabic religion’, Zeitschrift für alt-testamentliche Wissenschaft, 82 (1970): 199f., cited in E. Cochrane, ‘Mars Gods of the New World’, Aeon IV. 1 (1995): 60 73: Catullus 68. 51 74: A. de Grazia & P. James, ‘Aphrodite - The Moon or Venus’, SIS Review I. 3 (1976): 8-14) 75: (->>Great Magical Papyrus of Paris) K. Preisendanz, Papyri Graecae Magicae; Die Griechischen Zauberpapyri, 1928, I: 64, cited in D. Cardona, ‘Child of Saturn (part III)’, Kronos VII. 3 (1982): 3-14) 76: Rig-Veda X. 90; Patterns in Comparative Religion : 421 77: Patterns in Comparative Religion : 1958: 423 78: Patterns in Comparative Religion : 422f. 79: Patterns in Comparative Religion: 422 80: Patterns in Comparative Religion : 423 81: D. N. Talbott, The Saturn myth; a reinterpretation of rites and symbols illuminating some of the dark corners of primordial society, 1980: 88

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• The androgynous Yin and the Yang have been combined in the Chinese holy woman T’ai Yuan. • The Zuni Indian chief god Awonawilona who is an androgynous he-she. • IU-piter is being called "simultaneously father and mother" 82. • The androgynous (hermaphrodite) deity Zurvan generates Zoroastric's main Deity Ahura Mazdā and his counterpart (the devil) Ahriman from its shoulders. An overview of literature to this chapter: • Compilation and overview by Rens van der Sluijs, January 2001 in Ignis-e-coelo • The Secret Doctrine, H.P. Blavatsky, 1888 • Patterns in Comparative Religion, by Mircea Eliade, Rosemary Sheed, John C. Holt, 1958 • Symposium by Plato (ca. 385 BC.) • Twenty-two books to Theocracy, by St. Augustine (354– 430)

82:

St. Augustine in Twenty-two books to Theocracy

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14 Proto-Indo-European Language It was judge Sir William Jones (September 28, 1746 – April 27, 1794), who discovered similarities between Indo-European Languages. In The Sanscrit Language (1786) he suggested that all three languages had a common root, and that indeed they may all be further related, in turn, to Gothic and the Celtic languages, as well as to Persian. This common source came to be known as Proto-Indo-European, which apart from common language also implies several religious concepts (especially androgynous symbolism) and the religious coding in the pronouns. At the beginning of the 19th century the Norwegian Rasmussen Rask found a law of correspondence between a Greek letter ph (f) and the German letter b. This effect explains a correspondence between a Greek word "phrater" and the English word "brother". At the middle of the 19th century August Schleicher started a reconstruction of PIE, a short-cut for Proto-Indo-European language, which must be considered as a basic platform for all Indo-European languages. An Australian specialist for archaeology Gordon Childe (working in England) investigated the original countryside for the Proto-Indo-European language and located the area in the regions Northern-India, Central-Europe, Northern-Europe and South-Russia. His favourite region referred to the area north of the Black Sea. His work has been continued by Maria Gimbutas, who developed the Kurgan-theory, referring to the Kurgan-tumulusconcentrations.

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Pronouns in the PIE-language The following table lists a fundamental word-list for the PIE(Proto-Indo-European) language as developed by Morris Swadesh83. Priority ranking in the table seems to follow a general rule: 1. 2. 3. 4. 5. 6. 7.

Pronouns (I, you, we) Indicators (this, that, not) Basic Questions (who, what ?) Amounts (all, many, one, two) Sizes (big, long, little) Individuals (woman, man, person) … to be followed by other categories (fish, bird, dog, lice, tree, seed, leaf, radix...) 8. Sky objects (sun, moon, star) 9. … to be followed by other categories (water, rain, stone, sand, earth, cloud, smoke...) 10. Colours (red, green, yellow, white, black 84) 11. Quality (full, new, good, round, dry) 12. to be followed by other categories (name, etcetera...) These rankings clearly indicate the priority for pronouns.

83: 84:

from: C. Renfrew 1988 Excluding the colour “blue” for unknown reasons

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Rank

English

Dutch

German (old) Category

1

I (I)

Ik

Ich (Ih)

Pronoun

2

You (Thou) Jij

Du (Thu)

Pronoun

3

We

Wij

Wir

Pronoun

4

This

Dit

Diese

Indicator

5

That

Dat

Jene

Indicator

6

Who

Wie

Wer

Basic Questions

7

What

Wat

Was

Basic Questions

8

Not

Niet

Nicht

Indicator

9

All

Alles

Alles

Amount

10

Much/ Many

Veel

Viel

Amount

11

One

Een

Ein

Amount

12

Two

Twee

Zwo

Amount

13

Big

Groot

Gross

Size

14

Long

Lang

Lang

Size

15

Small

Klein

Klein

Size

16

Woman

Vrouw

Frau

Individuals

17

Man

Man

Mann

Individuals

18

Person

Persoon

Person

Individuals

Table 4: Basic Core PIE-Vocabulary

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At positions 1-18 the above list reveals some remarkable pairs of antipodes referring to dualism: • • • • •

The antipodes I ↔ you (whereas: I & you = “we”) at positions 1, 2 and 3 this ↔ that (at positions 4 & 5) one ↔ two (at positions 11 & 12) big ↔ small (at positions 14-15) woman ↔ man (at positions 16-17)

PIE pronouns In PIE pronouns are difficult to reconstruct owing to their variety in later languages. This is especially the case for demonstrative pronouns. PIE had personal pronouns in the first and second person, but not in the third person, where demonstratives were used instead. The personal pronouns had their own unique forms and endings, and some had two distinct stems; this is most obvious in the first person singular, where the two stems are still preserved in English I and me. According to Beekes, there were also two varieties for the accusative, genitive and dative cases, a stressed and an enclitic form. Pronouns in the first and second person perfectly suit the Androgynous Religion, in which only two (male and female) antipodes are to be served. There is no special religious symbol in the ranking area between 1 and 100. However there are two deities identified in the PIE-language.

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The sky-god as a Proto-deity in PIE Indo-Europeans cannot (yet) be localized in archaeological findings. Localizing Indo-Europeans is being proposed by available tools (wagons, wheels, etc.). Horses do not belong to the Indo-European basic common vocabulary. Basic common vocabulary contains father, mother, etc... Only two deities belong to basic common vocabulary85: The sky-Father (Dyæus , Zeus, Tyr, Ti-Father, etc.) and a deity for the morning-light. The common deity for the morning-light must be Eos or to be more precise "Haeoos" / Aurora. Aurora may be derived from Gr.: "ausosa" (from Eos) and is to be compared to English "Easter-", or German "Oster-", simply referring to the early Sun-rising-deity in the East. Basic common PIE-vocabulary also provides a common, neutral word for "God". Dating the common Indo-European language is being accomplished by tracing the words for the metal bronze, which has been invented at 2000 b. C. and has been dated later than the splitting point into individual Indo-European languages. Further analysis of earlier Greek- and Hittite-languages places the origin of common Indo-European language before 3000 b. C.

85:

Information from: Indo-Germans lt. dtv-Atlas Weltgeschichte (in German), ISBN:978-3-423-08598-3 (page 41)

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From the viewpoint of androgynous creation legends and Germanic languages we may define three personal protopronouns in the subsequent individual Indo-European languages: • • •

I for the first person singular (I), U for the second person singular (you) and UI for the first person plural (we).

These personal proto-pronouns are the fundamentals for religious, androgynous definitions (such as the composed name Tuisco by concatenating the pronouns "Thou"/"Thu" and "I"/"Ih"), but they vary according to the divine name. In contrast to standard deities (e.g. Zeus, IU-piter, IHVH, etc.) Tuisco cannot be classified as a sky-god. In Germania Tacitus describes Tuisco as an earth-related deity and Caesar relates Tuisco to Dis-Pater, the father of darkness and the underworld86. In fact the reversion of the androgynous joined symbols “UI” in the name Tuisco etymologically reveals the symbolic darkness87. “Duister” is the Dutch word for “dark”.

Equivalent Proto-Deities Androgynous creation and the accompanying legends certainly cannot be restricted to Greece. In “The Secret Doctrine” Helena Blavatsky remembers an old, equivalent creation legend from Persia:

86:

De Bello Gallico – by Julius Caesar, Book VI, 53 b. C. Helena Blavatsky

87:

128

Meshia and Meshiane were but a single individual with the old Persians. They also taught that man was the product of the tree of life, growing in androgynous pairs, till they were separated at a subsequent modification of the human form. And even many centuries later in history the idea has not been lost completely. According to Blavatsky, Eugibinus, a Christian, and the Rabbis Samuel, Manasseh ben Israel, and Maimonides taught that: "Adam had two faces and one person, and from the beginning he was both male and female -- male on one side and female on the other (like Manu's Brahma), but afterwards the male and female halves were separated." Simple correspondences are abundantly present, such as the Sanskrit devas, the Latin deus, Lithuanian dievas, Old Irish dia and the Old Norse plural tivar, which are all words for “gods” 88 . Of particular interest to the present paper is a set of correspondences listed and completed in the following table89:

88:

Mallory, p. 128 as proposed by Blavatsky in the Secret Doctrine (1888) – however Blavatsky did not imply Tuisco in her work. 89:

129

corresponding pronouns

Language

Deity

Proto-IndoEuropean

*dyeus-peter

Egyptians

Teut

Persians

Sire

Magi

Orsi

Greeks

Zeu-Pater, Theos

ancient Turks

Esar

Sanskrit

dyaus-pita

Italy / Latin

d'Ju-piter

D'u and I

Umbria

d'Iuve-patre

D'u and I

Illyria

Dei-patyros

Hittite

DSius

French

Dieu

Germanic

Ti-var (Tyr-Father) Tu and I

Celtic

Tuisco

Thu and Ih

Arab

dUI

UI

Tu and Je

Table 5: Androgynous Deities and their Pronouns90 These correspondences indicate a correlation between androgynous creation legends, androgynous deities and pronouns. However correlations cannot be restricted to PIEareas and are covering other languages as well. 90:

Based on Helena Blatatsky, The Secret Doctrine (1888)

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The androgynous pronouns U, I and UI Basically any language may be considered to contain fundamental words (for basic ideas and fundamental thoughts). According to linguistic theories the (primarily three) most important words in the Proto-Indo-European (PIE-) Language (as reconstructed by August Schleicher) or probably in any language are (in that order): "I", "You" and "We". Starting from modern English we may now consider three proto-pronouns (in order of ranking) "I" , "U" and "UI". Considering their ranking in linguistic statistics these three pronouns "I", "You" and "We" may design a suitable reference to basic religious concepts. The most prominent proto-pronoun "I" is the first person singular, which may be considered a male symbol and refer to the religious concept of the lingam. The second relevant protopronoun "U" is the second person singular, which may be considered a female symbol and refer to the religious concept91 of the yoni. The third ranking word in Proto-Indo-European (PIE-) Language is the proto-pronoun "UI" or "IU" which may be considered as a merged joint for the singular proto-pronouns "U" and "I". In religious proto-concepts the joint of the male and female element may have been the divine joint "UI" or the symmetrical version "IU".

Paleolithic Continuity Theory The Paleolithic Continuity Theory estimates an earliest possible origin for an European version of PIE at the 10th millennium BC. 91:

As suggested by Helena Blavatsky in The Secret Doctrine (1888)

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The Paleolithic Continuity Theory (or PCT) is a hypothesis suggesting that the hypothetical Proto-Indo-European language can be traced back to the Palaeolithic era, tens of millennia earlier than the Chalcolithic or at the most Neolithic estimates in other scenarios of Proto-Indo-European origins. Its main proponent has been linguist Mario Alinei, besides prehistorian Marcel Otte and others, organized in a "PCT workgroup". The main exposition of "PCT" is Alinei's Origini delle Lingue d’Europa, published in two volumes in 1996 and 2000. The PCT posits that the advent of Indo-European languages should be linked to the arrival of Homo sapiens in Europe and Asia from Africa in the Upper Paleolithic. This PCT-Theory perfectly suits to the joined skulls as archaeological remains for Androgynous Religion.

PIE-Pronouns in Afghanistan In his work “Kite Runner” (2003) Khaled Hosseini uses a lot of Afghan expressions. Most of these are Arabian words. Looking for Indo-european equivalents I found Padar (father), Madar (mother) and Tu (identical to the French word "you"). The personal pronoun "Tu" (confidential you) is being used for confidential relations (e.g. husband and spouse), whereas "shoma" (respectful you) is signifying a more distant and respectful relation (even between parents and children). Originally the confidential word Tu may very well exclusively have been reserved for conversations between husband and spouse to symbolize the divine matrimonial relation between husband and spouse in a married couple.

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15 Colours, Twining and Runes Violet and purple In ancient, androgynous religions the colours violet-blue and red symbolized the male respectively female antipodes, whereas the mixed colour-combination purple expresses the divine idea of merging / joining the male and female elements. Merging however requires a genuine purple-mixture of red and blue. The human eye however cannot easily identify the difference between violet and genuine purple (as a mixture of red and blue). Obviously these confusions did lead to the idea of generating a purple colour as a divine symbol by high density weaving of Byssos as described in the Bible. Two embroideres, Oholiab, the son of Ahisamach, from the tribe of Dan and Huram are named as the specialists for generating the divine symbols of purple from red and violet-blue. Now before we start discussing the religious symbolism of the colours red and light we will need to study some physical facts in the field of colours and light. A special attention will be devoted to the colours violet and purple. Violet is a spectral colour (approximately 380-420 nm), of a shorter wavelength than blue, while purple is a combination of red and blue or violet light. The purples are colours that are not spectral colours – purples are extra-spectral colours. In fact, purple was not present on Newton's colour wheel (which went directly from violet to red), though it is on modern ones, between red and violet. There is no such thing as the "wavelength of purple light"; it only exists as a combination.

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On the CIE xy chromaticity diagram, violet is on the curved edge in the lower left, while purples are the straight line connecting the extreme colours red and violet; this line is known as the line of purples, or the purple line.

Fig. 29: CIE xy chromaticity diagram One interesting psychophysical feature of the two colours that can be used to separate them is their appearance with increase of light intensity. Violet, as light intensity increases, appears to take on a far more blue hue as a result of what is known as the Bezold-Brücke shift. The same increase in blueness is not noted in purples. 134

Violet cannot be reproduced by a Red-Green-Blue (RGB) colour system, and must be simulated by a mixture of red and blue (purple). The shade of violet simulated in the colour box above is just over halfway between magenta and blue on the colour wheel.

The Seal of Solomon The double triangle, the Seal of Solomon, also called the hexagram , is of great interest as a symbol of androgyny. This seal, known as the Magen David of the Jews, is actually composed of two triangles, superimposed on each other. One triangle pointed upward represents the flesh or material matter and the male generative act; the other, pointed downward, signifies female sexuality and the spiritual plane.

Fig. 30: Seal of Solomon Therefore we have a masculine and a feminine triangle integrated. This indicates sexual union, the sex act, and the reconciliation of opposites, yin and yang, or male and female in a union. The merging area's colour is a superimposed purple as the divine mixture of red and blue. 135

Having lost the religious, androgynous symbolism the Seal of Solomon turned into the hexagram , as a symbol for sexuality in witchcraft.

The Celtic burial tomb at Hochdorf A fine museum at Hochdorf / Enz near Stuttgart-Germany is guarding an important Celtic religious symbol. At the time of discovery the grave already is a sensational finding in 1968, being the untouched tomb92 for an early Celtic king. Looking back the real sensation however must be seen in an violetpurple coloured, long coat, symbolizing the religious fundamentals of the Celts.

Fig. 31: The Celtic burial tomb at Hochdorf 92:

Located at Hochdorf near Stuttgart, Germany, approx. 500 b. C.

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Hochdorf is a burial tomb assigned to the nearby Celtic Oppidum High-Asperg, which must be considered as one of the main Celtic trading stations in central Germany. Archaeologists discovered a dozen equivalent partner trading-stations in southern-Germany, including the Heuneburg, a trading centre for approximately 5000 inhabitants and surrounded by a sophisticated wall of bricks, located at the border of the Danube-river. The Heuneburg93 has been an important Celtic trading station 2500 years ago. The tomb at Hochdorf / Enz with its famous technical instruments and their archaeological and historical details are the main topics for the museum. Artisans reconstructed the grave and the ceremonial gifts using original workmanship and tools, clearly demonstrating life and the burial ceremony 2500 years ago. The tomb symbolizes a Symposium at the king’s palace and the banquet must be seen as a highlight in the life of the buried person, quite similar to the Symposium in Plato’s Banquet. A fine copper barrel, filled with mead, seems to have been imported from Greece and transported from Marseilles towards Germany. The real miracles however are the towels and clothes in the grave. The museum’s guide explains how all gifts in the tomb were wrapped in sheets. Most sheets are coloured in red and blue, which must have been most expensive dyes at the time of the burial ceremony. The orator explicitly demonstrates the manufacturing procedure for the violet-purple-coloured, royal coat of the sovereign. In fact, she explains, the material is woven with fine red and blue dyed threads at an extremely high density of up to 80 threads/cm. 93:

(Probably) Herodot's “Pyrene” at the sources of the Danube

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Religious Symbolism in Colours In ancient Europe the red dye has been extracted from lice living on the Kermes-oak trees (Quercus coccifera L.), named Coccus ilicis or Kermes vermilio Planchon. Alternatively the red dye may also be drawn from lices (Porphyrophora hameli Brandt), living on certain grasses. The blue dye has been extracted from a herb called European Indigo (Isatis tinctoria, German: “Waid”). In De Bello Gallico Julius Caesar documents the British Pict-warriors painting their bodies and faces with blue European Indigo, in order to frighten their enemies. However we will now be able to explain these blue indigo colours as symbols of the male members in an androgynous religion. In China the bride wears a red bridal dress and is to be carried to the matrimonial ceremony in a red sedan. The bridegroom is waiting for her and walking a red carpet he will welcome the bride by lifting her red veil. In modern times we welcome our new-born daughters with light-red and our new-born sons with light-blue coloured dresses and furniture, which must be considered ancient androgynous symbols as well. In early traditions the dark red colour of blood used to symbolize the female and the blue colour the male element. “Mother Earth” was known to spend the red ochre in the Stone Age civilization. Japanese culture is still associating red to the female element. In contrast “Father Sky” symbolizes the blue colour for the male antipodes.

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The human eye sees a mixture of red and blue as purple-violet, which has been a royal colour at all times. Mediterranean civilizations did preserve purple clothes for members of the royal family, prohibiting subjects to wear these ornaments. The Mediterranean weavers used a special, purple dye, which was manufactured by boiling huge amounts of snails in the Phoenician city of Tyros. It would have been easy for the Celts to import the Tyrian purple dye, but instead they preferred to interweave the finest red- and blue-coloured threads to create the purple coat. The museum in Hochdorf clearly demonstrates the expensive interweaving technique and the coat must be seen as a religious symbol, which even may be understood in modern times. Red is the female and blue is still the male symbol, in which we celebrate the arrival of our newborn babies. At his burial ceremony at Hochdorf the sovereign did wear the same red and blue symbols in his coat. Red and (violet-)blue are the long-wave, respectively shortwave colours at the very edges of the visible spectrum and they are spectral antipodes. Mixing the colours red and blue will yield purple, which is the only colour, which cannot be found in the rainbow. A colour absent in the divine rainbow however is a divine attribute. In this context we may consider the concept of the rainbow's border-colours red and blue to symbolize the androgynous poles in early religions. Basically the ancient Hebrews must have been considering the rainbow’s bordering colours red and blue and the mixture-colour purple as fundamental symbols for the Covenant between God and His children instead of the rainbow itself. 139

The Sephiroth The Sephiroth94 are organized into 3 different columns or gimel kavim ("three lines" in Hebrew):

The central column Kether Kether95 heads the central column of the tree, which metaphorically speaking is known as the "Pillar of Mildness" and is associated with the Hebrew letter Aleph, "the breath", and the air element. It is a neutral pole, a balance between the two opposing forces of male and female tendencies. Some teachings describe the Sephiroth on the centre pillar as gender-neutral, while others say that the Sephiroth vary in their sexual attributions. This central column does contain Purple and the mixed colours. Kether produces96 a male Sephira named Chokhmah and a female Sephira named Binah. As a trio they are named “the three heads”, containing all other Sephiroth.

The right column Chokhmah Chokhmah (Nr. 2) heads the right column of the tree, metaphorically speaking the "Pillar of Mercy", associated with the Hebrew letter Shin, the fire element, and the male aspect; This right column does contain Blue and generally the blueish colours. 94:

Image from Wikipedia-Commons Nr. 1 in the figure 96: De Philonische Geheime Leer – De Kabbala van Philo van Alexandrië by H.J. Spierenburg. ISBN: 90 202 8558 0, Ankh-Hermes (2001) referring to the Zohar 3, 288b, 291a. 95:

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The left column Binah The left column is headed by Binah (Nr. 3) and is called the "Pillar of Severity". It is associated with Hebrew letter Mem, the water element and the female aspect. This right column does contain Red and the reddish colours.

Fig. 32: The Qabalistic Tree of Life

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Even if the pillars are each given a sexual attribution, this does not mean that every sephirah on a given pillar has the same sexual attribution as the pillar on which they are located. In Hebrew Kabbalah, of all the Sephiroth only Binah and Malkuth are considered female, while all the other Sephiroth are male. Additionally (and this applies to both Jewish and Hermetic Kabbalah), each sephirah is seen as male in relation to the following sephirah in succession on the tree, and female in relation to the foregoing sephirah. Alternative traditions consider the grammatical genders of the words involved. Thus, Gevurah is feminine because it has an atonal finial Heh. Thus, Severity or Justice becomes a feminine attribute while Chesed (Mercy or Loving kindness) becomes a masculine one, despite the modern Western tendency to genderize these terms in reverse manner97.

The colouring Codes in the Zohar Zohar98

Purple

Blue

Red

Zeir Anpin

Malchut

Zohar

99

Tiferet

Malchut

Gvurah

Zohar

100

Tiferet

Malchut

Gvurah

Chesed

Gvurah

Carla Yesod 101 Randel 97:

fine linen

Chesed

Info from Wikipedia Sohar, Verse 164 in 26. Pekudei : 20. Sacred robes 99: Sohar, Verse 247 in 26. Pekudei : 26. Measuring line and measuring reed 100: Sohar, Verse 132 26. Pekudei : 17. Each order contains three 101: Model accoding to Carla Randell in Cabbala by Franjo Terhart (ISBN 978-1-4054-7978-3) 98:

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A typical definition of the sacred colours scarlet red, purple and blue may be interpreted in the following quotation of the Zohar102: “Verse 247. He explains: Since the former measurement is sacred, with the sacred colours 'of fine twined linen, and blue, and purple, and scarlet' (shemot 36:8). These are sacred colours, alluding to chesed, gvurah, tiferet and malchut, linen being chesed; scarlet, gvurah; purple, tiferet; and blue, malchut. its whole sum amounts to 32, 28 in length and four in breadth, altogether 32...” Zeir Anpin103, called Microprosopus in the Kabbala Denudata of Christian Knorr von Rosenroth, is the apprehensible portion of God associated with Chesed, Geburah, Tiphereth, Netzach, Hod and Yesod in the Zohar, and is the microscopic equivalent of Macroprosopus in the Sephirotic tree of life. The Siphra Dtzenioutha portrays it as the revealed face of God, and the Idra Rabba elaborates on the Kabbalistic significance of its several attributes. The different definitions in the colouring attributes to the Sephiroth Tree may indicate the keys already have been lost at the writing of these books. The only unambiguous codings seem to be a scarlet-red, female Gebura-column and a blue male Chesed column.

102: 103:

found at 26. Pekudei : 26. Measuring line and measuring reed see Wikipedia

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Fig. 33: Sephiroth Tree according to Carla Randel

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The Adonis-Cult Along with Paphos at the Island of Cyprus the city Byblos at the coastline of Syria used to be a centre for Aphrodite's respectively Astarte's cult. Byblos was renowned as the oldest Phoenician city ever since foundation by the great God "El", who had been called Chronos by the Greeks and Saturn by the Romans. In ancient eras Byblos was the venerated location for the ceremonies of the Adonis cult104. At the south-side of Byblos the river Nahr Ibrahim mouthed into the Mediterranean Sea and in antiquity the river used to be called "Adonis". The last king Cinyras of Byblos has been decapitated by Pompeius Maximus. The source for the Adonis river is located in Aphaca, a village at a day's distance from Byblos, surrounded by sacred forests and a temple area for Astarte, which has been destroyed by Constantine. The temple is situated near the village Afka, surrounded by walnut-trees. The river springs from an elevated territory and the creek runs down towards a high waterfall. At this location Adonis is said to have met Aphrodite for the first and last time and right here we will find his grave, where his deadly wounded corpse had to be buried. Every year at Eastern the young Adonis however will have to repeat his accidental death, revealing nature's bleeding, colouring the Adonis river in the Spring. Admirers mournfully observe the red waters of the Adonis flowing between the flowering anemones and red roses into the blue Mediterranean Sea, where an inland-wind produces a purple band of coloured water near the estuary of the river. 104:

Information from: "The Golden Bough" (1890) by James George Frazer

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Aphrodite's respectively Astarte's idol has been a white cone or a pyramid. The anemone's name probably has been derived from Naaman ("the loved one"), a nickname for Adonis. The Adonis-cult has been practised among the Semitic peoples of Babylonia and Syria. The Greeks accepted the cult as early as the seventh century before Christ. The real name for the deity was Tammuz. The name Adonis refers to the Semitic title "Adon", "Lord". Tammuz was the young lover for Ischtar and had to die each year. The mournings were to be held over the idol of the dead deity, which had been washed in clear water, embalmed with oil and covered by a red robe. These colourings in the red water of the river, the blue water of the sea and the purple mixture certainly have been considered another symbolism of androgynous religion. Although the symbolic character (red for the male Adonis and blue for the sea) had been reversed the androgynous symbolism in the purple mixture may clearly be identified. Another example of reversed colouring symbolism may be identified in Roman history. From early times the Roman kings always represented Jupiter himself. The Romans hailed their victorious generals after dressing them in Jupiter's purple cloths, to be borrowed from the statue in Jupiter's temple at the Capitol hill. However the (male) victorious generals painted their faces in scarlet red colours.

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Yin and Yang Red and blue are also elementary symbols in the banners of several countries with a Celtic history, such as Great-Britain, the U.S.A., France and the Netherlands. Are these colours the old symbols for androgynous antipodes? There is a strange coincidence: both the classic yin/yangsymbol and the oldest flag in history (the Dutch banner) are using symbolic colours orange and blue. The first Dutch banner also preferred the colour orange instead of red.

Fig. 34: The Prince's Flag (1572)

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Some of the Yin/Yang-symbols have been painted in red (earth/female) and blue (sky/male). They represent the polarity of everything: the double manifestation of the Tao.

Fig. 35: The Yin/Yang-symbol in the Korean banner According to the Encyclopaedia Britannica: “In Eastern thought, the two complementary forces, or principles make up all aspects and phenomena of life. Yin is conceived of as earth, female, dark, passive, and absorbing; it is present in even numbers, in valleys and streams, and is represented by the tiger, the colour orange, and a broken line. Yang is conceived of as heaven, male, light, active, and penetrating; it is present in odd numbers, in mountains, and is represented by the dragon, the colour azure, and an unbroken line.

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The two are both said to proceed from the Supreme Ultimate (T'ai Chi), their interplay on one another (as one increases the other decreases) being a description of the actual process of the universe and all that is in it. In harmony, the two are depicted as the light and dark halves of a circle”.

The History of the US-banner Surprisingly little is known about the origins of that familiar symbol, says Marc Leepson. Historians are not sure who made the first one -- despite a popular tradition that it was a Philadelphia seamstress named Betsy Ross. Nor are they certain why it consists of white stars set on a blue background, flanked by red and white stripes. Most believe the colours were inspired by the British flag. As for the stars and stripes, Marc Leepson says stars and heraldry have always stood for trying to attain greatness. "The other thing is that nearly all the Founding Fathers were Masons," he notes, "and stars have a very strong place in Masonic iconography. The stripes? We don't have a clue. The Dutch owned part of the United States in the beginning and the Dutch flag has three broad stripes, but we just don't know where they came from." In 1777, the Continental Congress issued a resolution calling for a national banner of red, white and blue, with 13 stripes and 13 stars. More stars were added as states joined the Union, until the flag assumed its current form -- 13 stripes and 50 stars. 149

There is some evidence the colours red, white and blue have been chosen by Templars and Freemasons in a great number of countries, namely Holland, France, England, Scotland and the USA. At the time of defining a banner the leading intelligentsia in most of these countries are known to have been influenced by Templar-or Freemason-symbolism. A great number of US-presidents are known to have been Freemasons: Washington, Monroe, Andrew Jackson, Polk, Buchanan, Andrew Johnson, Garfield, Theodore Roosevelt, Taft, Harding, Franklin D. Roosevelt, Truman and Ford. As Freemasons they certainly were aware of the Biblical sources for the fundamental border colours red and blue of the rainbow - even if they were unaware of the androgynous symbolism.

Hiram in Freemasonry Traditionally the Freemasons follow the ancient rules of holy geometries, which have been defined in the Bible (in Exodus, in Kings and in Chronicles) and in Pythagoranian, Vitruvian, Hermetic, New-Platonic, Hebrew and Islamic philosophies. As a first fundamental level the Freemasons rely on the craftsman and/or king Hiram in the Bible. Hiram (often spelled Huram), a craftsman of great skill sent from Tyre. 2 Chronicles 2:13-14 relates a formal request from King Solomon of Jerusalem to King Hiram I of Tyre, for workers and for materials to build a new temple; King Hiram responds:

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"And now I have sent a skillful man, endowed with understanding, Huram my master craftsman (the son of a woman of the daughters of Dan, and his father was a man of Tyre), skilled to work in gold and silver, bronze and iron, stone and wood, purple and blue, fine linen and crimson, and to make any engraving and to accomplish any plan which may be given to him, with your skillful men and with the skillful men of my lord David your father."

Red and Blue in Exodus In the original Hebrew version of 2 Chronicles 2:13, the phrase translated above as "Huram my master craftsman" is "ChVUrM 'aBY," Hiram Abi. According to the Bible Hiram Abiff has been chosen to fullfill God's orders to build the Temple in purple and blue and crimson. However God's order to King Solomon had not been the initiating order for applying purple, red and blue. Solomon received the orders as God's orders from his father David, but In fact we will have to read the book Exodus to find the first divine order for using these colours as given to Mozes, where another workman from the tribe of Dan is a skillful embroiderer in blue, in purple, in scarlet: "With him was Oholiab, the son of Ahisamach, of the tribe of Dan, an engraver, and a skillful workman, and an embroiderer in blue, in purple, in scarlet, and in fine linen".

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And although the Bible does not specify the symbolism for purple, red and blue have been applied to symbolize the male and female pillars in the Sephiroth system. We may also identify the couple of (iron) pillars named B=Bohaz (Strength as a male element) and J=Jakin (Stability as a female element) as the temple's basic elements in the Freemason-system. In this symbolism the divine order to apply red and blue as fundamental colours refers to the male and female components in an androgynous religion.

Byssus In the Celtic grave at Hochdorf in Germany the king's purple clothes have been proven to be woven in Byssus- or twiningtechnology using the finest threads of blue and red at densities of 80 threads / cm. The high density weaving of red and blue colours cannot be identified without optical tools and the clothes look like a homogeneous purple material. The same technology Byssus respectively twining applying the colours red, blue and purple is found in the Bible. Of course the elementary colours red, blue and purple may refer to androgynous deities, symbolizing male (blue colours) and female (red colours) or divine symbols (purple). Red and blue are the clearly visible border-colours for the rainbow, whereas purple is a mixture of red and blue, which fails to be found in the rainbow's spectre. The English word "twining" referring to "twins", "two", "twilight" and "Tuisco" may be symbolizing matrimony, which may be considered as a religious act in "becoming immortal by making children". 152

Runic alphabets The Proto-European language already includes the principal androgynous deity (Dyæus , Zeus, Tyr,... probably Tuisco as well) and additionally a common god from 3000 b. C. Nordic people defined special runes Tyr and Ansuz for these elements. In Icelandic language Tiur / Tyr is a big, wild animal (a bull, German: -> (S)tier). In English a steer is a male bovine animal castrated before sexual maturity (an ox). Of course Tyr and the "steer" may eventually refer to the ancient bovine cult in the Indo-European area. Especially the Tyr-Rune and the three basic105 vocals A, U, I may symbolize religious, androgynous elements:

↑ is the symbol for the skygod "Tyr“ - teiwaz, tīwaz │ is the male symbol ("I") for eisa-, īsan („ice“) ∩

is the female symbol ("U") for ūruz ("aurochs" or *ûram "water") The A-rune is the symbol for a common god "ansuz" („Ase“). Graphical insertion of the vocal I into the graphically mirrored vocal U results in the androgynous divine Tyr-symbol: ↑ 105:

The dictionary of Runes - Das Runen-Wörterbuch (1844) by Udo Waldemar Dieterich

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A similar symbolic fusion may occur in the Etruscan and/or Roman alphabet by joining (a 90-degree rotated) letter "U" (or "V") and an "I" to the letter "D".

Written androgynous symbolism In The Sacred Symbols of Mu colonel James Churchward documents several inscriptions found in Mexico and Brazil, which may reveal androgynous creation legends.

The dual Principle in Mexico Quotation106: The Mexican Tablet No. 1584 reads:--"Man was created with the dual principle, male and female. The Creator caused this man to pass into a sleep (our death) and while he slept, the principles were severed by Cosmic Forces. When he awoke (born again) he was two--man and woman."

The Kara-Inscriptions in Brazil Quotation107: On a large prairie-like plain in the northeastern part of Brazil near the boundary of British Guiana stands an immense rock with many smooth faces which are literally covered with very old inscriptions in the characters of the ancient Karas or Carians. A reconstructed version of the legend is: 106: 107:

The Sacred Symbols of Mu , page 58, labelled Mexican Tablet No. 1584 The Sacred Symbols of Mu , page 63

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“One became two. Two produced three. From these three the life was continued on”. The continuation is shown in the glyph for numeral 3 where the ends of the bars are left open. The ancients designated by unattached ends that unfinished work was being carried on. It may be well to note here that the Cara glyph for 1, an enclosed bar, was the Naga glyph for 5. All Naga counts were made up of 5's; thus ten would be two or twice five. Ten being the numeral symbol of the Infinite, was never used. As the symbol of the Infinite it was looked upon as being too sacred. In China we find Lao Tzu in Tao te King, using virtually the same words about 600 B. C. which he took from the Sacred Writings of the Motherland. This legend “One became two. Two produced three. From these three the life was continued on” corresponds to the standard creation legend.

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16 Religious Symbolism in Traditions Saying Hello A correlation between Saying Hello may be found by comparing the standard greetings for several languages: • • • • • • •

Goedendag (-> "Good day", standard Dutch) Tag (-> "Good day", northern German) Gutentag (-> "Good day", standard German) Gruß Gott (-> "Good day", southern German) Buenos Dias (-> "Good day", Spanish) Adieu ("Good-bye", standard French) Doei (-> "Good day" or "Good-bye", standard Dutch)

Wishing "Day" obviously correlates to "Deus" or "Dyæus " and refers to the common Sky-God for the passers-by. "Dui" or "Doei" correlates to the twilight (Tui-light) or darkness, which prevailed over daylight for the Celtic and Germanic society. In fact "Dui" or "Doei" may be translated as "Good-evening" or "Good-twilight". German language clearly demonstrates the dominance of the night-time in the names for festivities like Midsommernight, “Walpurgusnacht”, "Weihnacht” = "Christmas", "Fastnacht" = "Carnival", etc. All timings and dates referred to the night-time and the ancient Germans avoided to date any important appointments at daylight. 157

Darkness as opposed to daylight has been symbolized by reversing the inner characters "IU" in the daylight name "Dius" to "UI" in "Duis"108. The Dutch word for darkness is "Duisternis". Caesar indirectly describes Tui’s nature as a dark god DisPater, emperor over the dark areas of the underworld. For this reason the Dutch goodbye-greeting formula "Doei" or equivalent "Dui" (the French → adieu) probably is a remnant from androgynous Tuisco-oriented religion at the Lower Rhine valley, centring around the Tuiscoburgs between Doesburg and Bonn (Doesburg-Netherlands and Duisburg, Deutz and Duisdorf-Bonn in Germany).

Maypoles as androgynous symbols The maypole is a tall wooden pole, traditionally of maple, hawthorn or birch, sometimes erected with several long coloured ribbons suspended from the top, festooned with flowers, draped in greenery and strapped with large circular wreaths, depending on local and regional variances109.

108:

this thesis has been proposed in The Secret Doctrine by Helena Blavatsky

109:

Information from Wikipedia

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Fig. 36: German Maypole (2008) One of the earliest illustrations of a maypole was made in 1590. It can be seen on a fresco by Hans Donauer in the Antiquarium of the "Münchner Residenz". Erecting a maypole occurred in nearly all other European countries. The tradition reaches from erecting the Maien to May-dances around a decorated pole which was put up in a village square. Erecting a maypole must follow certain rules and is accompanied by traditional customs. Work is traditionally divided between the men and women. Men take care of choosing, cutting down and transporting the 159

tree pole, while young women are responsible for the garlands, collecting donations and other decorations. With roots in Germanic paganism, the maypole traditionally appears in most Germanic countries. In Greece people do the maypole dance. Maypole is referred as Mayoksylo ( Μαγιόξυλο) and it also has a phallic symbolism. The Maypole must also be considered an androgynous symbol. To may (German: maien) originally indicates to make love and the maypole is an ancient marriage-symbol for joining a male/female-couple. The erected and towering pole symbolizes the male element in this union. The large circular wreaths represent the female element, which must be considered to be the stabilizing and passive pole (the O-rings, respectively the "You" in the union). Most maypoles reveal an upper half-pole (male symbol) completely hidden inside a covering yoni (female symbol), which may be considered as a perfect symbol for a unified couple. The Germans called the nighttime following the first May the "Freinacht" / "mai-night", or the "lover's night". At a distance modern maypoles may often be dominated by the ego-"centred" male element, but if you are able to read the story you will be able to identify the truly androgynous religious symbolism, which in Germany may have been devoted to the androgynous creator God Tuisco. In ancient manuscripts bishops complain the barbaric scenes of pagan people and report how they are trying to replace these rites by Christian habits. Each year the cults are still being activated as the so-called Walpurgis-rites in which young people are having fun in the night-time. 160

The Djed-pillar as an androgynous symbol In analogy to the Maypole the Egyptian Djed-pillar is a fertility-symbol and a phallic symbol as well. Well known in ancient Egypt it may have been originated from a papyrusbundle in which a man had been sacrificed (by fastening and beating to death) at the end of the harvest period110.

Fig. 37: Djed-pillar

110:

Geheimlehre by Will-Erich Peuckert, page 501, Nikol (1988), ISBN 3933203-66-X.

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Basically the Djed-pillar (with it's male pillar and it's female ring-symbols) is quite similar to the maypole, especially if we consider the following Wikipedia-entry for Djed: “The Djed symbol is a pillar-like ancient Egyptian symbol representing stability. It has been interpreted as the backbone of the Egyptian god Osiris, especially in the form Banebdjedet (the ba of the lord of the Djedet). Djedu is the Egyptian name for Busiris, a centre of the cult of Osiris. During the Renewal Festival, the djed would be ceremonially raised as a phallic symbol symbolising the "potency and duration of the pharaoh's rule". It has been compared to the Sumerian concept of temen. The hieroglyph for "djed" may have given rise to the letter Samekh”.

The Need-fire or Wild-fire Need-fire or Wild-fire (Ger. Notfeuer, O. Ger. nodfyr), is a term used in folklore to denote a curious superstition which survived in the Scottish Highlands until a recent date. Like the firechurning still customary in India for kindling the sacrificial fire, the need- or wild-fire is made by the friction of one piece of wood on another, or of a rope upon a stake. According to one account, in the Highlands of Scotland the rule that all common fires must be previously extinguished applied only to the houses situated between the two nearest running streams111.

111:

Kelly, Curiosities of Judo-European Tradition and Folklore, p. 53 seq.

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In Caithness the men who kindled the need-fire had previously to divest themselves of all metal. In some of the Hebrides the men who made the fire had to be eighty-one in number and all married. In the Halberstadt district in Germany, the rope which was wound round the stake, must be pulled by two chaste boys; while at Wolfenbüttel, contrary to usual custom, it is said that the need-fire had to be struck out of the cold anvil by the smith. In England the need-fire is said to have been lit at Birtley within the last half of the 18th century. The superstition had its origin in the early ideas of the purifying nature of fire. In Bulgaria even smoking during need-fire is forbidden. Two naked men produce the fire by rubbing dry branches together in the forest, and with the flame they light two fires, one on each side of a cross-road haunted by wolves. The cattle will then be driven between the two fires, from which glowing embers are taken to rekindle the cold hearths in the houses112. Jacob Grimm documents the Need-fire113 as follows: “To kindle a fire the Arabs use two wooden elements March and Aphar, the former is male, the latter female” and he explains in the appendix to German Mythology114: •

The Nuod-Fire is made by friction of a male and a female piece of wood.

112:

A Strauss, Die Bulgaren, p. 198

113:

at Page 502-510 in Deutsche Mythologie under XX. Notfeuer

114:

at page 175 in the appendix to German Mythology under XX. Elements

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• •

•

In the Rigveda it will be churned from Arani (premna spinosa) The Arabs call the old-fashioned fire-rubbing sticks zend and zendet, the first being the upper and male element, the second the female or lower element with the hole ... Churning a fire by striking steel to a stone is a barbaric method for making a fire.

From these details we obviously may define the Nuod-Fire (from Skrt. nuod, churning) or fire-churning as an androgynous Symbol.

Fig. 38: Androgynous -Married- Couple (Oil-painting by Joannes Richter, 30x24cm)

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Veiling and Unveiling the Bride Androgynous creator-deities obviously did split the first androgynous creature "Adam" into a man and a woman. According to the Zohar they decorated the woman "as a bride", probably by a veil, and they did lead her in front of the man, face to face, eyes to eyes... And how did the Almighty react? He did saw the man and took the female part from him, as has been written down: “and He took one of his ribs” (1. Moses 2,21). How is this to be understood: one. This is his female half, in the same sense as in the Song of Songs 6-9 My dove, my perfect one, is unique. She is her mother’s only daughter. She is the favourite to the one who bore her. And so He did lead her in front of Adam (1. Moses 2,22). He dressed her like a bride and unveiled her to her husband’s brightened eyes: face-to-face, eyes to eyes. That's how the Creator God unveiled the bride and ordered the couple to rejoin to an androgynous couple, to be fertile and to cover the earth. Religious ceremonies will have developed into traditional wedding ceremonies in which the veiling and unveiling of the bride plays a major role.

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Androgynous creation legends (Plato's Symposium and the Zohar's legend) generally claim the male and the female halves of the first-born androgynous creature called "man" had been unable to see each other's faces. They felt lonely although they had been linked together and in an idea of compassion the Hebrew God decided to split them. Plato however claims Zeus had split them in fear for too much power... Either way the Creator-God had to separate their skulls and corpses by splitting the androgynous „man“-unity ("Adam") and leading the female half (the "ornamented" bride) in front of the male half (the groom). Face-to-face they were allowed to see each other for the very first time. The legend seems to symbolize a marriage in which the bride is "to be unveiled" at the wedding ceremony. The lifting of the veil was often a part of ancient wedding ritual. In many cultures, the lifting of the wedding veil symbolized the groom taking possession of the wife, either as lover or as property, or the revelation of the bride to the groom by her parents for approval. In androgynous religion lifting the veil symbolized the first creation of man by splitting and reuniting the male and female partners to divine-like oneness in a wedding-ceremony by a Creator-God in Genesis. The ancient androgynous religion considered a single individual male or female person as incomplete halves of "man". As a marital couple the individual persons at consummation would be transformed to androgynous man as an image of the androgynous creator-god. Matrimony must be considered as a repeated act of creating "man".

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English language preserves some remains of this androgynous symbolism as the word "man" may be applied for both male and female persons. Veiling certainly does not guarantee free choice for partners in matrimony and veiling seems to have been unknown in Nordic societies. The veiling tradition may have been added in later eras in Mediterranean areas.

Divorces and widowhood As in the Christian tradition the ancient androgynous religion would judge a divorce in analogy to the Gospel passage, "What therefore God has joined together, let no man put asunder" (Mt. 19:6). In androgynous religion a divorce must have been considered as a religious catastrophe, in which the deity's image of the couple had to be destroyed. For this reason most societies tried to prevent a divorce as long as the androgynous symbolism was widely acknowledged. The clothing worn by the widow (vidua) was a black tunic, bound with a cingulum tied in a nodus Herculaneus, beneath the recinium (a square veil with a purple stripe along one edge, worn by women in times of mourning; men wear the pulla, a dark-coloured toga). The colour purple for a widow indicates an androgynous symbol allowing her to symbolically feel "united with her husband".

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Roman weddings Wedding veils always had religious background, especially in the West. Veils had been used in the ancient West for weddings and the Roman brides wore an intensely flame-coloured (red, orange or yellow) veil, called the flammeum115. Pliny says the bride's hairnet was egg-yolk coloured and dyed with luteum (it yields a deep yellow dye) and that the flammeum was also dyed with luteum; however, a scholiast on Juvenal likens the flammeum to the bride's blush. The second meaning is confirmed by the perpetual wearing of the flammeum by the wife of a flamen (a Roman priest), who was not allowed by law to divorce, for any reason whatsoever. The Limes-museum at Aalen, Germany refers to yellow clothes for the Roman brides, whereas the flammeum's colour is said to have been orange. Even today Greek, Albanian and Armenian brides may wear a traditional flammeum. Etymology may explain another background of veiling traditions. In fact the Latin verb used of the woman marrying, nubo, is related to nubes, a cloud, and means literally 'I veil myself'. The idea leads to nupta, a married woman, nova nupta, a bride, and nuptiae, the wedding. The event turns on the bride and her veiling. The veil was oblong, transparent and matched her lutei socci, shoes. The veil left her face uncovered. She also wore an amaracus wreath. Her gown consisted of a tunica recta, a white flannel or muslim tunic that had been made on an old-fashioned upright loom, and a cingulum, girdle. There was a knot at the waist of her dress to avert ill fortune. 115:

See: Wikipedia and various other web-sources

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These details reveal the idea of re-creating and re-uniting two individuals to the androgynous man “Adam”.

Ancient Hebrew weddings In ancient Judaism the lifting of the veil took place just prior to the consummation of the marriage in sexual union. The uncovering or unveiling that takes place in the marriage ceremony is a symbol of what will take place in the marriage bed. Just as the two become one through their words spoken in wedding vows, so these words are a sign of the physical oneness that they will consummate later on. The lifting of the veil is a symbol and an anticipation of this. In the story of Jacob in the Old Testament (found in the Book of Genesis), his father-in-law, Laban, tricks Jacob into marrying the wrong woman. Because of the heavily masked veil that was not raised until after the union was complete, Jacob married the older and homelier Leah instead of the young and beautiful Rachel. Rachel was his one true love, and the deceit resulted in Jacob eventually having both as his wives. The story also resulted in the Jewish practice where a groom lowers the veil before the ceremony and lifts the veil before the kiss. This practice is known as Bedeken116.

Victorian England History dates white wedding gowns back to 1840, when Queen Victoria made white the bridal colour of choice when she wed Prince Albert. In the 17th century red has been the favourite wedding-colour in Europe. 116:

from Wikipedia - entry: veil

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The missionary position The missionary position is a male-superior (man on top) sex position in which the woman lies on her back and the partners face each other. The missionary position was advocated by Thomas Aquinas and other authorities in medieval Europe. It appears in ancient artwork of the Romans, Peruvians, Indians, Chinese and Japanese. A common myth states that the term "missionary position" arose in response to Christian missionaries, who taught that the position was the only proper way to engage in sexual intercourse. However the "missionary position" may very well refer to androgynous religion and androgynous creation legends. Face-to-face-sex (in the missionary position) must have been a unique human attribute in ancient time. With the exception of a pair of Congolese gorillas observed doing so, Bonobos were thought to be the only non-human apes to have been observed engaging in missionary position respectively face-to-face genital sex. Bonobos -to be discovered by Ernst Schwarz in 1928- have been unknown in ancient eras. In ancient eras man must have been considered the only species to be able to keep eye-contact during copulation and it is quite normal to find a reference to the eye-contacts in creationlegends such as Genesis. Eye-contacts play an important role in preparation-phases, e.g. petting and engaging. What do we observe in the eye-contact to partners? We may identify the pupilla, which is a small imaginary image in the other's eyes. The word pupil has been derived from "pupilla", a orphan-girl, probably already available as the Greek word Kore ("Girl, darling, "the apple of my eye") and equivalent ancient old-Egyptian words. Traditionally "the apple of my eye" is the 170

dearest possession for human beings. For most parents "the apple of my eye" is a child and the "pupilla" may very well refer to the tiny, biblical female puppet, which may have been observed by the first, newly created bride while looking into the eyes of her newly created matrimonial partner.

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17 Linguistic Traces of Duality Linguistic traces of duality in English Language may be reduced to a set of religious concepts, which have been derived from androgynous symbolism in early religion. Dual is a grammatical number that some languages use in addition to singular and plural and may be preferred for any objects to be used in pairs or couples: for example a pair of shoes, or a matrimonial couple. Although relatively few languages have the dual number and most have no number or only singular and plural, using different words for groups of two and groups greater than two is not uncommon. English has words distinguishing dual versus plural number, including: both/all, between/among, latter/last, either/any, and neither/none. Among living languages, Modern Standard Arabic has a mandatory dual number, marked on nouns, verbs, adjectives and pronouns117. Dual is an ancient relict from the past, vanishing from all languages as soon as the reminders of religious symbolism are extinct. Traces of dualism reveal the old religious concepts referring to matrimony and androgynous fertility-rites. The basic concept seems to have been a strong interconnection between man and woman, symbolizing a matrimonial tie. 117:

First-person dual forms, however, do not exist; compare this to the lack of third-person dual forms in the old Germanic languages (Source: Wikipedia)

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List of English word-examples in alphabetic order referring to duality: • Couple from Lat. co-apere = to join; commonly used to indicate a matrimonial couple also referring to copula = that which connects, a link • Dutch (and Duitsch = German) referring to diutisc = people's language and probably also referring to the ancient creator-god Tuisco • Entwine To twine together or round. See twine. • Pair (synonyms: couple, twosome) Two persons united, as by marriage. • Tuesday [AS. Tiwesdæg] or Tuisco's Day118. • Tuisco Ancient androgynous (-> Hermaphroditic and bi-faced) German creator-god, probably bi-faced like a Roman Hermes or Hermes of Roquepertuse, also referring to Hermaphrodite. Hermaphroditus is a son of Hermes and Aphrodite, who while bathing became joined in one body with a nymph.119 • Twice The word twice (two times or doubly) is a special -dualversion. 118:

Source: from Thomas Clarkson's A Portraiture of Quakerism.

119:

Source:Webster's New College Dictionary.

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• Twig A small shoot or branch, to be generated at a branching position (splitting in two elements). • Twilight The transition between both darkness and bright daylight. The absence of light (darkness) is a female symbol contrasting to bright daylight as an active, male symbol. The twilight is a holy transition point joining both male and female elements. The Twilight of the Gods is the Ragnarok. Twilight sleep is a condition of subconsciousness or anestesia. • Twin Two children being born at the same birth; the word twin is a special -dual-version. • Twine An extremely strong thread of basically two strands twisted together. Twining used to be a religious symbol for matrimony, which may be considered as a religious act towards eternity. Using more than two strands in a thread is common practice, but does not refer to the basic religious concept. Twining is being quoted in the Bible as Byssus and is found in a Celtic burial tomb at Hochdorf near Stuttgart. Both twining methods in Hochdorf and in the Bible are referring to using the thread colours blue and red, which indicate androgynous symbolism in a male symbolic colour blue and a female colour red.

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• Twinkle To open and close rapidly. To shine with an intermittent light (alternating both dark and bright) • Twist (or twirl) Basically twisting is the process of twining, in which two strands are to be drilled to form a strong thread. Twining and twisting used to be a symbol for matrimony, which may be considered as a religious act towards eternity. • Two Two may correlate to twining to symbolize both strands in a thread.

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18 Psychoanalysis and Androgyny In the "The Art of Loving" the psychoanalyst Erich Fromm documents several forms of love (parental love, erotic love, etc.) and their influence on human behaviour. Sound maternal love is an unconditional affection and care of a mother to her baby in which the mother convinces her child to love being alive. Characteristically the child cannot earn maternal love. On the other hand the child's father represents the world of thoughts, the world of laws, order and discipline. The father's job is to guide the child on its road into mature life. In contrast to maternal love the child will have to earn paternal love by obedience. Both loving to be alive and discipline will have to be experienced for a sound human being. In the end a mature person will have reached the point to represent her or his own mother and father. In fact mature persons replace their external father and mother by internal symbols providing themselves with maternal and paternal conscience. Creating a maternal link, switching from maternal to paternal relations and synthesizing these to a combined parental conscience is a fundamental process to accomplish a sound spiritual maturity. Any disturbance in synthesis may cause neurotic symptoms and diseases. Erich Fromm describes the analogy between evolving religions and maturing human beings. In an early phase a maternal deity develops according to the child's mother, followed by a paternal god corresponding to the child's father. In the end maturity will be achieved by synthesizing both parents. 177

These internally synthesized parents obviously correspond to an androgynous deity. Maternal and paternal religions seem to be representing developing stages in a ripening society, whereas androgynous religion represents a mature human structure. At this stage the revolutionary replacement of a former androgynous religion by modern paternal religions cannot be understood.

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19 Modern androgynous symbolism

Fig. 39: Androgynous face by Marc Chagall The Albertina museum exposed a lithographic painting 120 name David & Bethsabée created by Marc Chagall in 1956. 120:

Marc Chagall (1887-1985)

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Marc Chagall (1887-1985) clearly used the symbolic colours red and blue to identify the female and male person. However it remains unclear whether red is a female and blue is a male symbol. According to the arrangement in the painting Chagall probably applied the standard modern convention in which the red colour represents female symbolism and blue represents the male symbolism. The following contribution of an androgynous face has been created 2003 by the author for an exhibition.

Fig. 40: Androgynous face (painting J. Richter, 2003)

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20 Overview of Androgynous Symbols A great number of symbols (in the colours red, blue and purple, May-poles and pillars, twining technology, etymological elements and traditions) has been listed in an overview of androgynous symbols. The list implies: •

• •

Egyptian kings and Pharaohs have been wearing crowns, mainly using the colours red, white and blue in combination with gold (yellow). The Djed-pillar as a an ancient equivalent fertilitysymbol of the May-pole. The androgynous version of the Seal of Solomon consists of the interwoven triangle-symbols ( a male121 and a female122 element).

Fig. 41: Seal of Solomon

121: 122:

Blue triangle pointing upward (male element) Red triangle pointing downward (female element)

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•

• •

•

• •

• •

The Hebrew Covenant-tent may be described as coloured in combinations of red and blue and purple and applying twining as a method for intensely, symbolic weaving the red and blue. Solomon's temple contained a veil of blue, and purple, and crimson, and fine linen. In the Jewish Sephiroth we find a general basic rule: the left "Pillar of Severity" is red = female and the right "Pillar of Mercy" is blue = male whereas the central "Pillar of Mildness" is purple = neutral, respectively androgynous. According to investigations at the British Museum in London the Parthenon's fries and other temples in the Mediterranean area originally must have been painted in red, white and blue. All British peoples seem to have preferred blue as the male colour for manifesting the warriors123. In Hochdorf near Stuttgart (Germany) a Celtic grave (dated 500 b. C.) reveals a Celtic "king" wearing a robe of extremely fine woven, twined linen. The coat looks like a single colour purple, but has been woven in the colour combination red and blue to symbolize some religious idea. In etymology the Dual may be a remnant for androgynous symbolism. Veiling traditions seem to prefer red colouring for the female symbolism. Veiling traditions are still symbolizing the ancient androgynous creation-legends.

123:

source: Caesar's De Bello Gallico, book V (54 b. C.)

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•

•

• • •

•

The "missionary position" may very well refer to androgynous religion and to androgynous creation legends. The Need-fire and the May-pole are androgynousreligious, symbolic and fertilizing tools for generating life. The Dutch banner Tricolours first appearing in 1572 as the Prince's Flag in orange–white–blue. Yin/Yang-symbols may be painted in orange-red (earth/female) and azure-blue (sky/male). The Dutch good-bye greeting “Doei” seems to be a remnant to the ancient androgynous religion near the Lower Rhine valley, centring around the Tuiscoburgs between Doesburg and Bonn (Doesburg-Netherlands and Duisburg, Deutz and Duisdorf-Bonn in Germany). Heraldic signs for the Hansa-trading companies have been painted in red, white and blue.

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Fig. 43: Heraldic sign -Hansetrading-era

Fig. 42: Heraldic sign for the Hansa-City of Bruges

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21 Credits in for this Study Studying androgynous symbolism reveals an overwhelming number of worldwide elements referring to androgynous deities. Androgynous sculptures may be dated back to as early as 22,000 years, whereas the eldest religious androgynous symbols in the name JHVH may be traced backward down to 850 before Christ. The ancient Kabbalistic literature taught me to understand the divine names (IHVH, Deus, Zeus, Dieu, dIU-piter, ...) and the secret, religious coding for blue, red and purple in the Books Exodus and Chronicles, the idea of twining-symbolism and the symbolic colours in the Celtic tomb at Hochdorf as an equivalent to the Bible. I started searching for my parental Creator-God (Tuisco) and I ended up at finding a global androgynous Celestial God, Dyæus. Most of the results of this study (e.g. the colouring and twining coding and the symbolism in the pronouns and divine names) have been published124 previously in 2006. A major breakthrough however has been powered by the excellent overview of multi-frons- and Hermaphroditesculptures at the websites Paleolithic Art Magazine125 and The Museum of Origin of Man126 124:

in German language in "Der Brenner & TUISC Codex" by Joannes Richter (2006) 125: provided and managed by Licia Filingeri 126: provided and managed by Pietro Gaietto.

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22 Conclusion To me this report does not leave any doubt in the discussion of androgynous symbolism in the ancient colouring codes for purple, red & blue. Unclarity remains at the exact genderdefinition for the male and female symbols. The colouring codes for the garments in ancient oil paintings seems to be following the wealthy decorations in the medieval codices, which mainly consist of Bibles. From the intensity of the decorations we probably may identify the book Genesis as the most important part of the Bible to the medieval religious leaders127. The most important identifying religious symbols are the colours red and blue, probably symbolizing the androgynous elements in ancient religions. The biblical decorations clearly follow the divine commands as stated in the book Exodus for the garments of the earliest Jewish Covenantsanctuaries. Androgynous religion is to be considered as the predecessor for most modern religions. From sculptures we may read a respectable age for androgynous religion and several ancient androgynous sculptures are aged well over 20,000 years. We are able to trace detailed informations in written legends for androgynous creation in the Bible, in the Zohar and in Plato's dialogue Banquet128 and these legends refer to a standard bipolar deity, whose name already reveals androgynous symbolism. 127:

The colouring system cannot have been chosen by the copying monks themselves and probably has been defined by the leading management of the medieval Church. 128: "Symposium"

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A considerable number of these bi-polar names is found in the Indo-European languages, but it is not restricted to these and the list includes the Hebrew title IHVH as well. Bipolarity may be identified by the characters U and I, which refer to the feminine (U), respectively male (I) religious elements. The basic characters U and I are still being used for generating the proto-pronouns ("you", "I" and "we") in the Anglo-Saxon languages. Etymologists identify these pronouns as the most important words in any language. Bipolarity may also be identified by the basic colours red, blue and purple, which will be traced in the biblical Books Exodus and Chronicles in God's orders for the priest's clothings and the construction of the temple. According to a number of divine commands in the Book Exodus and the second Book of Chronicles the colours Purple, Red and Blue must have been religious symbols for a very long time. Reported findings at Hochdorf, Germany indicate the symbolism may have been shared or adopted by the neighbouring peoples (Egyptian, Celtic and German peoples, Greeks and Romans). In the Middle Ages Purple, Red and Blue played a major role in ornamentations and symbolism in the Bible, in religious paintings and in non-religious books such as Dante's Divina Commedia. From these manuscripts the symbolism may have passed to the garments of the French kings and probably other aristocrats as well. Subsequently the symbolic colours red and blue transferred to the flags and banners of a great number of organisations (e.g. the Freemasons) and nations (the USA, Russia, England, France, the Netherlands, the Philippines). 188

Oriental iconic paintings may still be following the original colour codex, but medieval synodical congregations allowed occidental painters to deviate from the standard colour codex to create religious paintings according to their own artistic feelings. The coding by the basic colours purple, red and blue is to be identified in the burial findings at the Celtic burial site of Hochdorf in Germany, in which the clothing reveals a hightechnology in twining towels with red respectively blue threads at an extremely high density of 80 threads / cm. The coding in applying the basic colours purple, red and blue is still being used for contemporary imperial (purple), respectively female (rosa-red) and male (blue) symbols. Although androgynous religion must have been a common, worldwide tradition for thousands of years it seems to have been lost around 30 centuries ago at the introduction of writing. Elimination of the feminine component in androgynous religion disrupted the carefully balanced equality of man and woman, causing a massive loss of identity for the female half of the population. The balance between man and woman may only be restored after understanding, accepting and restoring the ancient, androgynous roots of religions. Studying the origins of religion changed my viewpoint to religion. The magnificent influence of a 25,000 years old stabilising factor for mankind impressed me and modified my idea of a paternal God into a parental couple as a divine Being, creating an androgynous couple as a divine image. This insight changed my understanding for matrimony as a religious symbol. Now I understood why the ancient priests had to condemn divorce as a "destruction of a divine image". The 189

early peoples considered each individual human being as half a man, who had to be completed by a matrimonial partner to transform himself respectively herself to the divine image. The ancient cultures encoded these ideas into the personal pronouns (U and I and UI ) and into the colouring and twining system as described in the books Exodus and Chronicles. This old philosophy ensures a beautiful harmony between the male and female halves of mankind revealing perfect harmony.

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23 Appendices (Summaries) Appendix I - Historical Overview 20,000 b. C.: sculpture found at Gagarino, Ukraine A number of dual-headed sculptures has been found in palaeolithic excavations in southern France, Northern Italy, Germany, Ukrainia and Siberia. The union of the two heads is certainly connected to the bi-frontism of previous eras, which continues until the historical and current ages in equatorial Africa. Androgynous 2-headed sculptures may be very old. A small sculpture in ivory of mammoth (extinct hairy elephant) 14.8 cm high (5.2 cm for the female figurine; and 9.6 cm for the male figurine), found in a Palaeolithic site (evolved Gravettian, about 21,800 years ago) at Gagarino, Ukraine, is a rare example of two human beings joined together by the neck, with the whole body. Tarassov relates this head-to-head position to the adolescent double burial at Sungir, in which two individuals were interred with the tops of their heads touching.

10,000 b. C.: Sky-God Dyaeus in the PIE-language The Paleolithic Continuity Theory estimates an earliest possible origin for an European version of PIE at the 10th millennium BC.

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4000 b. C. : Proto-Deity in the PIE-language The Kurgan Period (Fourth millennium b. C.) and the Cordceramic culture (2880 b. C.-2000 b. C.) buried their women left-sided and their male right-sided inorder to mirror the burial positions.

3000 b. C. : Proto-Deity in the PIE-language Only two deities belong to basic common vocabulary: The skyFather (Dyæus , Zeus, Tyr, Ti-Father, etc.) and a deity for the morning-light. Representing an androgynous deity the skyFather may be considered as a primary common Proto-deity as early as 3000 b. C.

900 b. C.: Ba' al of Tyrus The Ba' al of Tyrus that Ahab, king of Israel, introduces in the 9th century b. C. in Samaria, as a result of his wedding with Izebel, daughter of the king of Syria ( The Kings 16. 29 & followings) has been described as "four-shaped" by Eustachius from Antiochia (approximately 300 AD).

850 b. C.: IHVH at the Mesha-Stele The first characters I (or alternatively Y) and V in the name IHVH respectively YHVH refer to the male and female elements in symbolism. The Mesha-Stele is notable because it is thought to be the earliest known reference to the sacred Hebrew name of God - YHWH. The inscription of 34 lines is written in the Moabite language.

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It was set up by Mesha, about 850 BC, as a record and memorial of his victories in his revolt against the Kingdom of Israel during the reign of king Ahaziah after the death of Israel's king Ahab.

530 b. C.: The Chieftain's Grave at Hochdorf The symbolic coding-system of the Chieftain's clothing for the colours purple, red and blue and the twining technology (equivalent to the Biblical Byssus-technology) may refer to androgynous religion.

500 b. C.: The Parthenon's fries The Parthenon, a temple of the Greek goddess Athena, has been built in the 5th century BC on the Athenian Acropolis. The Parthenon's fries and other temples in the Mediterranean area originally must have been painted in red, white and blue. The colours red and blue may refer to androgynous religion.

450 b. C.: Book Exodus According to tradition, the Book Exodus and the other four Books of the Torah were written by Moses in the latter half of the 2nd millennium BC. Modern biblical scholarship sees it reaching its final textual form around 450 BC. The symbolic coding-system for the colours purple, red and blue and the twining technology (Byssus) may refer to androgynous religion.

400 b. C.: The Second Book of Chronicles The symbolic coding-system for the colours purple, red and blue and the twining technology (Byssus) in Solomon's temple may refer to androgynous religion. 193

385 b. C.: Symposium Plato documents a detailed androgynous creation in his famous dialogue Banquet (Symposium).

300 b. C.: Celtic art Femininity is yin to masculinity's yang in human relationships. Even though the principles of yin-yang were used in China in the fourth or fifth century b. C, there are no known references to the taijitu there before the eleventh century AD. However, iconographic forms similar to the taijitu were recorded in Europe by the fourth or fifth century AD., almost seven hundred years earlier than the date of its appearance in China. Symbols with a partial resemblance to the later Taoist diagram appeared in Celtic art from the 3rd century b. C. onwards, showing groups of leaves separated by an S-shaped line. The flag of South Korea has a white background with a yinyang symbol in blue and red. In Korea, ‘yin’ and ‘yang’ are referred to as ‘um’ and ‘yang’.

124 b. C.: The Hermes of Roquepertuse The sculpture's location Roquepertuse has been destroyed 124 b. C. by Consul Gaius Sextius Calvinus. The skulls' arrangement and a 7-10% size-relation may indicate androgynous symbolism.

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30 AD: Pharisees interprete androgynous Adam In explaining the various views concerning Eve's creation, the Pharisees taught129 that Adam was created as a man-woman (androgynos), explaining the Bible-quote (Gen. i. 27) as "male and female" instead of "man and woman," and that the separation of the sexes arose from the subsequent operation upon Adam's body, as related in the Scripture.

98: Tuisco Tacitus describes Tuisco in Germania130. The divine name reveals androgynous symbolism131. Caesar and Tacitus compare the most important deity in Germania to Mercury (Hermes), which may refer to the standard 2-headed respectively 4headed Hermes-sculptures in the Roman Empire. In later years several cities (Duisdorf-Bonn, Duisburg and Doesburg as Tuiscoburgum) have been devoted to Tuisco, which may indicate a religious central region at the lower Rhine valley.

150: Androgynous Adam Jeremiah ben Eleazar132, a Palestinian scholar of the 2nd century, inferred that Adam was created with two faces, one of a man and one of a woman, and that God afterwards cleft them asunder.

129:

From the Jewish Encyclopedia: Adam Kadmon ( Er. 18a, Gen. R. viii.) Subtitle: De origine et situ Germanorum liber 131: Source: Jacob Grimm, German Mythology 132: Info from the website: Jewish Encyclopedia 130:

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350: The Talmud In the Talmud the idol of Manasse has four faces, while in the Syrian "Apocalypses of Baruch" it has five.

900: The Zbruch Idol The Zbruch-sculpture in the National Museum in Kraków, Poland represents two bearded males and two beardless females and may refer to androgyny.

1100: Rashi's Genesis (1040-1105) “God created the human being, being both male and female, which was subsequently divided into two beings”133.

1168: Svantevit The Svantevit temple at Cap Arkona has been destroyed in 1168 and the 4-headed sculpture had to be burnt in the religious baptising festivities at the conversion to the Christianity. The comparable 4-headed Zbruch idol reveals androgynous symbolism in 2 female and 2 male figures.

1240: Colour coding in medieval Bibles Most medieval Bibles apply colour coding (for purple, red and blue) in the headlines, initials, garments or backgrounds of the manuscripts.

133:

Chapter. 27

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1300: The Zohar The Zohar is widely considered the most important work of Kabbalah or Jewish mysticism. The Zohar first appeared in Spain in the 13th century, and was published by a Jewish writer named Moses de Leon. The Zohar describes the Tetragrammaton's (IHVH) androgynous symbolism in detail, but must be considered to define incorrect androgynous keys.

1358 The Tricolour of France During the Middle Ages, these colours came to be associated with the reigning house of France. In 1328, the coat-of-arms of the House of Valois was blue with gold fleurs-de-lis bordered in red. From this time on, the kings of France were represented in vignettes and manuscripts wearing a red gown under a blue coat decorated with gold fleurs-de-lis.

1572: The Prince's Flag The Tricolour of The Netherlands is the oldest tricolour, first appearing in 1572 as the Prince's Flag in orange–white–blue. The French tricolour's colours red and blue are basing on the fundamental colours red and blue of the City of Paris (which is an old Celtic centre).

1660 Russian tricolour flag The white-blue-red Russian tricolour flag dates back to the 1660s when Czar Alexei Mikhailovich ordered ships to fly a similar banner for identification. Historians speculate it may have been inspired by the Dutch flag, the oldest remaining tricolour national flag, but both tricolours may have a common religious base. 197

1814: 15-starred banner (USA) There is some evidence the colours red, white and blue have been chosen by Templars and Freemasons in a great number of countries, namely Holland, France, England, Scotland and the USA. At the time of defining a banner the leading intelligentsia in most of these countries are known to have been influenced by Templar-or Freemason-symbolism.

1898: Flag of the Philippines The flag of the Philippines was officially hoisted for the first time on 12th of June in 1898. It shows two horizontal stripes in blue and red with an isosceles white triangle on the leech. The designing elements of the flag of the Philippines are broadly of Masonic origin.

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Appendix II - Androgynous deities134 Language

Androgynous Proto-deity

Scandinavian

Tivar (Ti-Father)

British

Tui (imported from Germany)

U (you) and I

German

Tui (Parent for Tuisco / Tuisto)

Thu and Ih

Dutch

Tui (Parent for Tuisco / Tuisto)

U and Ic

French

Dieu

Du and Je

Italian

Dios

Tu and io

Spanish

Dios

Tu and yo

Greek

Zeus (Dyæus )

Hittite

Sius (Sius-summa)

Etruscan

Tinia (also: Tin, Tins or Tina)

Roman

IU-piter

Hebrew

YHVH (from: IhUh -> IU)

Arab

dUI

Iranian

Zurvan

Proto-pronouns

UI ("I")

Table 6: Overview of Androgynous Deities 134:

in contrast to Blavatzky's concept (1888) in Table 3 this overview includes the deity Tuisco

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Appendix III – Links to Google-Books Zohar , Bereshith to Lekh Lekha (1300) published by Forgotten Books, ISBN 1605067466, 9781605067469 Online document - inaccurate description of androgynous Kabbala by erroneous interpretation of the female symbolism by claiming: “The letters yod and he symbolize the father resp. the mother135. The V in the divine name IHVH is the son or child of I and H, the Father and the Mother”136. Der Sohar : Das heilige Buch der Kabbala (ca. 1300) translated by Ernst Müller. - Publisher: Diederichs (1998), ISBN 3424014575, 9783424014570, 319 pages. This German version of the Zohar is more accurate, but incomplete. Phallic Worship (1870) by Hodder M. Westropp (1870) (online) published by Forgotten Books, ISBN 1606200437, 9781606200438, Size: 14 pages. Very small booklet (14 pages) describing an overview of Phallic and Yonic worship. Phallicism: Celestial and Terrestrial ; (1884) Subtitle: Heathen and Christian and Its Connection with the Rosicrucians and the Gnostics and Its Foundation in Buddhism by Hargrave Jennings, Kessinger Publishing, 1884 & 1996, ISBN 1564596486, 9781564596482, 324 pages Exact and correct explanation of the Tetragrammaton's letters J-E-V-E or JHVH: This process leaves us the two letters I and V (in another form U); 135:

Source: Zohar - Chapter 7 Source: Zohar - Chapter 12

136:

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The Secret Doctrine , Vol. 1 and Vol. 2 . by Helena Petrovna Blavatsky Published by Forgotten Books, ISBN 1605065455, 9781605065458 and 160620131X, 9781606201312 Overview of ancient Kabbalah (including phallic and androgynous religions) Patterns in Comparative Religion (1958) by Mircea Eliade, Rosemary Sheed, John C. Holt Reprinted by: U of Nebraska Press, 1996, ISBN 0803267339, 9780803267336, 484 pages Documenting a survey of bisexual / androgynous godheads The Art of Loving137 (1967) by Erich Fromm. Publisher: Ullstein, 1967 Description of the psycho-analytic role for a father and a mother in a parental couple In Search of the Indo-Europeans : Language, Archaeology and Myth (1973) by J. P. Mallory illustrated, reprinted: Thames and Hudson, 1991, ISBN 0500276161, 9780500276167, 288 pages Archaeology and Language : The Puzzle of Indo-European Origins by Colin Renfrew Edition: reprint, illustrated by CUP Archive, 1990, ISBN 0521386756, 9780521386753, 368 pages documents the priorities for pronouns (I, You, we) in a PIE-list (basic core vocabulary) at page 114 in the web-version of the manuscript. 137:

Die Kunst des Liebens

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German Mythology138 (1854) by Jacob Grimm Edition: 3, published by Dieterichsche Buchhandlung, 1854 Der Brenner & TUISC Codex (2006) Subtitle: über die Bernsteinrouten und die teutsche Religion by Joannes Richter, published by R.G. Fischer, 2006, ISBN 3830109652, 9783830109655, 128 pages Explaining androgynous religion in a synthesis of palaeolithic sculptures, legends, religion and etymology. The Kite runner139 -> by Khaled Hosseini, translated by Angelika Naujokat, Michael Windgassen. Published at Berlin Verlag, 2008, ISBN 3827008042, 9783827008046 … documenting modern Afghan matrimonial and veiling traditions. The Dictionary of Runes140 by Udo Waldemar Dieterich (1844) 387 pages, Veröffentlicht von Marix, 2004, ISBN 3937715134, 9783937715131 The Golden Bough: Abridged Edition by Sir James George Frazer published by Penguin Classics, 1998 ISBN 0140189319, 9780140189315, 944 pages

138:

Deutsche Mythologie Drachenläufer 140: Das Runen-Wörterbuch - Abstammung und Begriffsbildung der ältesten Sprachdenk-mäler Skandinaviens139:

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