Black Spirituality Religion : The U.N. and Kemetian cosmology as relates to the dead. An interpretation...

Discussion in 'Black Spirituality / Religion - General Discussion' started by gogounited, Aug 31, 2010.

  1. gogounited

    gogounited Well-Known Member MEMBER

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    At this link you will find a mural depicted on the wall of the security council's chamber at the U.N. I've laid out a simple but lengthy interpretation of it as seen from the perspective of some aspects of Metu Neter. Please share with me what you make of it, if anything.

    http://farm3.static.flickr.com/2030/2400769285_c8a2ee97be_o.jpg


    The United Nations Security Council Chamber Mural

    This is an interpretation of the mural.

    The mural is one centralized theme, arranged in coherent patterns of 3’s showing relational correspondences to each panel in an almost Kabbalistical fashion.

    We will begin with the central theme and work our way around from the left to the right to center, and then summarize.

    So beginning with the left, we have an individual huddled beneath a pile of dirt or rock. There are shaded individuals being pulled up from the same under-region. One can clearly see where the panels of depictions are overlayed by images. For instance, there is a man holding a white rope and pulling up what appears to be a female shaded character. Notice that she is not part of the man’s panel, that she is overlayed in aspect to it, and being pulled into it. These shaded characters, the rope, the action of pulling up, and the buried individual amidst the rock, symbolize communication with the dead. This will be communication by the elites, with their dead ancestors. The left side of the painting corresponds to the elites, and the right side to the rest of us. These depictions are set out in a series of panels, and we will get to each one throughout this interpretation. But for now, let’s notice that there is a young man next to the guy with the rope who is pulling up the dead. This individual is shaded in colors of red, white, and blue. His eyes are red, denoting possession and he is using his hands in a calling gesture. The gentleman with the rope appears somewhat Hitler-esque. My interpretation of this, given my study of Metu Neter, is that the red, white, and blue individual symbolized America, France and others who make up a cabal whose leaders are involved directly in “waking” their dead ancestors, calling to them, if you will.

    Directly behind the young, possessed individual is a woman opening a large French-style window and light is pouring in. This symbolizes the bringing the dead to light. They are venerating their dead, and in doing so this is symbolized in African cultures as the “bringing the dead to light”. It means communion and communication with dead ancestors, allowing their voice to affect the living and the present.

    As we move further up the panel here we see individuals doling out grain, measuring it, and bagging it. Each of these individuals is wearing a hat, except for the woman whose head is covered by hair. This is the cabal, who maintain their power over the world’s food supplies, and therefore power over the world.

    That is a small and brief summary of this one panel, and a portion of the painting that is not part of that panel.

    Let us move to the opposite part of the painting, on the right-hand side which corresponds to the same theme as the one we just discussed.

    As was mentioned the theme is the same, but this time WE are the centralized part of it, all of us being the masses, the non-elites of the world.

    Here beneath the rock, we have what appears to be a family of male and female huddled together, with fear on their faces, worry and concern. Notice that the shaded individuals here, particulary the shorter one holding a rope, is searching, seeking, and trying to find his/her way. There is no guidance. The other individual is plainly a black man bound in chains, and in a zombified state of movement. We will come back to this later, but for now, notice the gentleman with his back to the dead, holding a pickaxe and shovel. He is standing on a pair of steps or stairs. This is significant because the man has his back to the dead, in direct comparison to the elites, using a rope to face-forward pull the dead from their burial. And the gentleman standing beside him, possessed, calling to the dead. These are denotations of a difference in actions, and mindset towards the dead. One the one hand you have the elites, beckoning and aiding their dead to the light, and on the other hand (right) you have the ancestors of the masses bound in chains, waking in zombified state, huddled in fear, and whose remnants have their backs to them. They have the tools (pickaxe and shovel) to unearth their dead, but turn away instead.

    Moving further up the panel on the right, we have a gentleman slapping the rump of a pale horse in the moonlight. And we have again, a window. This time it is left unopened. The horse is being “sent out” on a task. We will come back to this later. But let’s just summarize by saying, these dead are not being brought forth to the light.

    Finally, at the top of the panel, we have two individuals, male and female, observing through microscope and telescope the microcosm and the macrocosm. Notice the female is looking “within” through the microscope and the male is looking “without” through the telescope. This is an obvious reference to the female and male principle as relates to cosmology of Kemetians (male and female, positive and negative aspects)

    So, in looking at these two panels, we have on the left, the elites communing with dead ancestors, bringing them to light and finally as a result, they have possession of and control over the world’s supply of food.

    On the right we have the masses, whose dead remain in bondage, are not brought to the light, send out the pale horse instead, and finally as a result, the As above, So below principle that serves to repeat this cycle, through the micro-macrocosms. As above – the dead not brought to light – So below, the dead remain in bondage and darkness. And so do we, the masses, remain in bondage and darkness through this mechanism.

    We will come back to this later to flush it out a bit further perhaps.

    Now, let’s move to the center of the mural. Notice the phoenix with it’s foot on the carcass of another phoenix. This symbolizes what has been happening epoch through epoch, or as the Gnostics would say, Aeon through Aeon, or to put it another way, age after age. The phoenix rises from the ashes in such a way as to promote the continuation of same epoch through epoch, hence it’s foot upon its predecessor. The head of the phoexis is turned to the left, with the left eye visible. Remember this, it is a central theme.

    The dead body of the phoenix is lying atop a river of blood. And in the midst of it lies a funeral pyre. For anyone who has studied Metu Neter or Egyptian archaeology, it’s plain that this pyre is meant for Ausar. The head is missing from the pyre, meant to be in the shape of a lion. This is significant in terms of occult symbolism. What we have instead, is a birdlike disembodied head, holding a sword in it’s mouth, and stabbing through the heart of the Ausar funeral pyre. Just to the left of the head, is the hand of Ausar, empty of it’s crook and/or staff. And once again, we are looking at the left eye of the birdlike creature as it stabs the heart of Ausar. Just to the left of this we see the tail of the Ausarian funeral pyre, which is being stepped upon by a soldier. More on this later.
    But for now, let’s recap and summarize.

    Ausar is being stabbed through the heart, depicted headless, hand empty of power (staff and crook) and whose tail is being stepped upon by a soldier of war. Do I really need to point out what this means? And this is occurring in the center of a river of blood, that is in turn surrounded by innocent people and their children.

    Okay, so now we are left to deal with two more panels, each to the left and right of the phoenix, and two more panels, of different shape that are above the phoenix, respectively.
    Let’s begin with the Garden of Eden depiction. Male, female joined in union, a child beneath them with his left leg crossed beneath the right leg. And again, we return to the As Above, So Below theme. At the top we have a cherub handing a piece of fruit to a young lady. The cherub is above, the young adults are below. There again, we have two adults, seemingly in love above a child. They are inverted opposites of the As above, So Below theme and signify with the joining of male and female and child, the Trinity. This is the central core of Kemetian cosmology, the joining of male and female principles as the basis of creation/destruction, the interaction of these two negative and positive modalities in order to create (produce a child) form. All of this is symbolic of course, and could be interpreted many ways, but the jist of any interpretation will come back to the the centralized trinity theme of the union of male and female in order to create.

    So let’s get to the two panels to each side of the phoenix, in somewhat center of the mural. We will start again, with the left and then move to the right one, and then conjoin the meaning as a comparative interpretation.

    Here on the left we’ve got what appears to be a festive event, people gathered outside a town center of sorts and celebrating. In the foreground is a young, black or colored male child with his back toward the viewer. He is playing a drum and dancing, wearing all white and surrounded by flowers. Jus to the left of that is a shaded character (dead) with his hand out in an attempt to interact with the crowd or wave to someone he recognizes, it’s unclear which is intended, but let’s just note that he is reaching out in recognition to his people, the dead interacting with the living. Children are seen standing in a row in front of the mass of adults, but behind two characters holding a blue banner. In a building to the left of the crowd is a woman at the top floor holding a blue U.N. flag and waving it over the crowd. In the background, in yet another building are the shaded individuals (dead) also holding a blue flag over the crowd. Let’s assume this blue banner/flag denotes sovereignty and authority. A woman and man holding the banner are joining in that act with her left hand to his right. They are looking at one another (in collusion), and the banner comes to an end in the woman’s right hand. It does not cross over the entire panel.

    So in an effort to summarize, let’s notice the colored boy’s back is to the viewer, he is playing instrument and dancing. This depicts the manipulation by which the elites keep the masses from communing with the dead. They attack the ancestral children with manipulation of the arts. Black cultures, as some of the most recent of Egyptian and African cultures that venerate the dead, are targeted through use of music to ignore that aspect of reality. It doesn’t take a genius to see how rap has caused the black youth to turn away from their heritage to meaningless consumerism. In any case, this is to show that, by manipulating the youth, control is maintained from the ground up, from the young generations into the old as the progression of this “parade” goes through time. You’ll also notice the dead in the background are reaching out to the crowd, one man is handing down his hat for one of the living to wear, this symbolizes reincarnation of the dead to the living, not by the death of the living, but in establishing identity AMONG the living.

    Alright, now that I’ve probably lost you somewhere along the way, as this is a long post, let’s look at the other panel on the right in comparison to the one we just did. One of the first things I ask you to notice is that the dead are on a ladder in the background, this denotes they are “higher” than the crowd, therefore having more knowledge, able to see more of the proceedings. They reach out to the living but are ignored. In terms of the crowd, look how many more there are than the depiction on the left. Fewer children but more adults. And the crowd is dull, everyone blends in with everyone else—a perfect depiction of the mass mindset of conformity. Whereas, look at the colorful dress of the crowd on the left, turbans, golden robes, red, blue, yellow, green, clothing, etc. Now, notice the children on the right. One has a green face, another a blue face, and then a blonde girl in a red dress. The children are much more colorful than the adults. This is symbolic of mind control, the dulling of one’s imagination and mind as a result of adulthood and the woes that beset it, work, career, education etc., worry over how to feed your children, it has a cumulative effect.

    And notice the individuals holding the banner, a male and female. The male in all green, is staring at the woman, who is dressed seductively, and is wearing the banner, rather than holding it. Compare to the woman on the left, the woman on the right is being seduced by authority. The man in green (old man) looks as though he is pulling her strings through the banner. There to the right of the woman, is a man holding a large blue flag over the crowd, with the U.N. logo upon it. The blue banner the man and woman are holding transverses the entire panel, from left to right. It even crosses over the man holding up the flag. This is symbolic of the people on the right panel, accepting this rule of authority over them willingly. It also symbolizes the manipulation of women by authority, even her sexuality. The little blonde ground does not dance in the foreground, but in the background. She does not play her drum, and does not dance amongst the flowers. This is symbolic of a disconnected female aspect of white society. The feminine aspect, or Yin faculty is put into the background, ignored, unable to play the music to which she belongs. Unable and taught NOT to connect with the hidden aspects of female character, it symbolizes a left-brain male dominated society in which women’s powers are rendered powerless (she has a drum but does not play it).

    Let’s look at the Asian man, reaching out to the dead. This symbolizes the fact that Asian culture does venerate the dead. Given however, that the Asian cultures are martial and left-brained oriented societies, it only goes so far as that because without the right-brain faculty being used in balance alongside the left, there is no bringing of light to the dead, only an embrace. The red-haired white woman is a semblance of pre-Celtic culture wherein the dead are venerated, but notice her eyes are closed. This is because her history has been stolen and though she has the right-dominated vestiges of Kemetian culture embedded in her Gnostic ancestry, she is unable to see how it fits into today and the present, her eyes are closed, though she reaches toward the dead.

    Okay, so a summary in comparison of the two: we have the machinations by which the masses are kept in the dark in terms of how they interact with the dead. On the left the dead are interacting with the masses, on the right the dead are in chains being embraced by a Chinese man. If the Chinese man isn’t a modern depiction of modern-day slavery, then I don’t know what is. So, from slavery to slavery. The difference in the crowds in terms of clothing and composition denotes one (on the left) of elite heritage, and one of the common masses (on the right). There is much more to be said about both of these panels, but for the sake of brevity, I will go into that with further discussion in anyone so chooses to ask for further detail.

    And now we finally deal with the last two panels, which are really one and the same, and those are the top two central panels of the mural. We’ll deal with their interpretation as a collective of the two. What we have depicted here are the mediums of life through which folks’ imagination is being manipulated. It’s a manipulation of the ability to CONCEIVE a new way of doing things, a new idea about the construct of reality. And this is done through (from left to right) Drawing, Painting, Architecture, Music, Writing, Poetry, Dance,---essentially through the Arts. If anyone recalls from the Metu Neter the faculty of Het-Heru and the imagination, this can be clearly seen.

    I’m so glad you made it to the bottom of that lengthy exposition! Let’s summarize the whole thing in terms of relational aspects, one panel to the next etc. It’s easy to see how they are all interlinked through the central theme of “Control of Mankind” This is done through many means, the Arts, communion with the dead, while discouraging communion of the masses collective dead, control of the world’s food supply and the re-writing of history, epoch through epoch, while the sacrifice of innocent people continues to supply a river of blood due to the death of Ausar in each person of the world. So that humanity never realizes it’s full potential as having been created in the image of Creator.
    There is also the proponent of war (red,white,blue boy calling to soldier) that has aided in the river of blood and the death of Ausar. In essence, divided and we are conquered.

    And that is my limited interpretation. Thank you for reading.

    Please DISCUSS!
     
  2. Sekhemu

    Sekhemu Well-Known Member MEMBER

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    This is a pretty interesting discourse. I haven't. Been able to review the link so I'll come back later to add more commentary. However it does appear that the authors of the piece are alluding to use of esoteric archetypes founde d in Africa.

    The reference to ancestral forces could portray a double edge sword. I'lll leave it right there for now
     
  3. info-moetry

    info-moetry STAFF STAFF

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    peace

    My short version of what I C w/ my limited knowledge.....

    On the outer layers are the first 3 levels of Masonry....

    1. Entered Apprentice
    2. Fellow Craft
    3. Master Mason



    In the backround of some of the sections, you see the working tools of each. The section where you see the WHITE woman opening the window and the 19 rays of the sun coming in (the sunrays representing knowledge) and behind her other WHITE WOMEN being pulled up by a rope by a WHITE man (who was "raised" long before her) and other men standing next to him, represent the woman being raised from a dead level to a living perpendicular..90 degrees symbolically!

    The young black drummer seems to be celebrating the end of the civil war as behind him is a white soldier taking off his hat with an exhasperated look as if to say "it's finally over".....also notice the weapons of war around his neck, at his feet and the gatling gun behind him. I feel the the man with his jacket over his shoulder heading into the next scene is the same man, he just traded in his uniform for a suit to return home which is why he is reaching out towards the celbration that awaits him in the next scene with the little black drummer leading the way. Notice the man's right foot is entering the next scene and his left foot still in the other scene, furthur endication that the soldier and the man in the suit are one and the same.

    Right above the celbration scene you see the "architects" depicted as white, but to the immidiate right you see the entertainers and dancers depicted as black and soulful. This is a message that we have taken your knowledge and reduced you to being mere tools of entertainment for us...

    - I will try to get back to the rest shortly.....

    peace
     
  4. gogounited

    gogounited Well-Known Member MEMBER

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    Very interesting the interpretation you got from the two top-most panels of the mural. I noticed that as well (whites on left, blacks on right) and tried to find some coherance with my theory that the two panels, collectively represent the various arts as a means of manipulation.

    Yes, it's possible that the message is that of "tools of entertainment." And I think it may be possible that of the blacks (on the right), music, dance, theatre, poetry are arts tied to the right-brain faculties. While the whites (on the left) are busying themselves with architecture, design, drawing, arts of the left-brain faculty.

    What is the man in all green doing in the left panel? Is he surveying? Some kind of geological inspecting? Am I mistaken or are his feet bare? Does he resemble the white guy in all green in the center-right panel, the one with crowds? Is that the same dude pulling the woman's strings, so to speak?

    What is that white woman doing in the top right panel?

    Why do I have more questions than I started off with? lol
     
  5. gogounited

    gogounited Well-Known Member MEMBER

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    Interesting indeed, a double-edged sword.
     
  6. jamesfrmphilly

    jamesfrmphilly going above and beyond PREMIUM MEMBER

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    spy?

    why would anyone discuss our business with a white person?
     
  7. gogounited

    gogounited Well-Known Member MEMBER

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    Your business? I thought I was here sharing a thread about my interpretation of this mural. Given it's a mural involving the U.N., and that it may concern many and all peoples of the world, I can hardly see how it's your business alone.

    You certainly don't have to share, that is not why I wrote this up. This was put forward to allow folks to take in the information. What you do with it becomes YOUR business, and if my color prevents you from sharing your opinion, then so be it.
     
  8. jamesfrmphilly

    jamesfrmphilly going above and beyond PREMIUM MEMBER

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    you used the word kemet. that is black peoples business.
    if you had true wisdom and respect you would leave us alone.
     
  9. gogounited

    gogounited Well-Known Member MEMBER

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    Okay, so the word Kemet and the knowledge of Kemet can only be obtained and/or used by black people, is that what you're saying?

    That it's not the history of ALL religion? It sure seems like the origin of all religions currently known to date, doesn't it? Who can own knowledge and history?

    This interpretation is MY business, business I choose to share with black people. Now, I know you don't like to dialogue with white people so I wil let you alone.

    Peace,

    Penny
     
  10. jamesfrmphilly

    jamesfrmphilly going above and beyond PREMIUM MEMBER

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    IMO khemetic knowledge is black culture

    i asked that you leave US alone. i can easily ignore you.
    i see you employing the standard white gambit of divide and conquer.

    "We Are About Loving, Encouraging, Embracing, Teaching and Building With Black People"
     
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