Naga and official dragons of the Dragon constellation civilization in the Renaissance.

Vasily Beregovoi • Drawings and illustrations, 2024
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Subject and objects: Literary scene
Technique: Pencil
Materials: Paper
Date of creation: 2024
Region: Luts'k
Location: Vasily Beregovoi

Description of the artwork «Naga and official dragons of the Dragon constellation civilization in the Renaissance.»

Beregovoy V.I. "Naga and Officials of the Dragon Constellation Civilization in the Renaissance".

Who is that depicted in the stained glass window flanked by a boy working on a white marble bust? Who is that on the sides of the throne with the seated beauty? White-skinned well-fed boys with beautiful hairstyles and a necklace on their breasts in the form of strung balls (and balls are the number of years lived). From their bellies their bodies are covered by something golden in the form of leaves, and instead of legs you can see blue-gray tails with pointed three-petaled golden ends curled around torch posts. In their hands they hold torches with golden tongues of fire emanating upward, bifurcating at the top, and with ribbon patterns of smoky stripes extending from them. Who are the nagas? You know that the mention of the Nagas is connected to Bel's victory over Mara. When Bel washed and ate, regained his strength and went to the bodhi tree, the deities of rain and wind moistened and showered his path with flowers. All the mountains and trees bowed down and even the infants pointed his way with their heads, for they slept facing that way. And Brahma-vashavarti, the lord of the three thousand worlds, ordered all those around him to honor Bela that evening. After unimaginable acts of veneration, light emanated from Bela's body, by which all suffering and anxiety were calmed and the spirit of the converts became pure. Even the king of the Nagas, Kalika, also honored Bela. Then the gods stationed themselves in the ten sides of the sky for Bel's protection. And Bel emitted from his body a light called "the light of the invocation of the Shudhisattvas." This light was seen everywhere in countless realms, and a multitude of bright people gathered and honored him. Then Bel thought, "It is not good for me to attain Enlightenment without letting Mara know about it. And he emitted from his forehead a light called the Destroyer of all the realms of Mara. This light highlighted all the dwellings of Mara, shook them and darkened them. And Mara saw in thirty-two dreams that his dwelling was covered with darkness, and told his supporters about it. Mara's son sar Thavakha tried to dissuade him from marching against Bel, but Mara cunningly turned all his troops into yakshas, vampires and huge snakes, cannibal demons, terrible, disgusting and ferocious. Then Bel learned that all elements are relative and essentially unreal. Endowed with intelligence Bel as a space did not succumb to delusion at the sight of the perfidy of Mara's troops. Mara's supporters on the right side leaned toward Bel and advised him to refrain from further confrontation, while those on the left, on the contrary, persuaded Mara to continue the battle. And Mara threw weapons at Bela, but all of them turned into flowers. Then Mara asked: "How can Thou attain salvation by these merits of Thine alone?" Bel replied, "Thou hast performed one unobstructed sacrifice and because of that thou hast become the Lord of the World of Desire. I, in turn, have made many unobstructed sacrifices." Mara replied then: "The sacrifice performed by me was unobstructed and flawless. You yourself are a witness to it. But to Your deeds there is no witness. Therefore all that Thou sayest is groundless, Thou art defeated." Bel then said: "This earth is my witness," and striking the earth with his right hand, said: "This earth is the support of all living beings, it is equal and unbiased. Let it bear witness that I do not lie, and let it be a witness before you." And the earth trembled six times and showed the half of the Clear Child, who, folding his hands, said: "As thou hast said, so it is, it is perfectly true. But, Master, thou thyself art the supreme witness for the whole of Meru, including the gods." Thus uttered the Child Clear and disappeared. Then the troops of the Cunning Mara, hearing the voice of the earth, like jackals hearing the roar of a lion in the forest, and like crows at the sound of a throwing projectile, fled, full of anger and fear. Then Mara, becoming frustrated, sent his daughters to distract Bela. They tried thirty-two ways to seduce him. But all their efforts were unable to seduce Bela to Mara's great grief. The eight tree nymphs praised Bela in sixteen ways, saying, "You are as beautiful as the disk of the rising fall moon." In sixteen ways these deities reviled Mara, saying, "O Mara, you are as weak as an old elephant caught in the mire." And in sixteen ways the gods tried to distract Mara, but in vain. He again threw throwing projectiles at Bela and showed many miraculous phenomena, but nothing by this did not achieve. The army of demons scattered in disorder, and seven days they could not gather. Many demons at that time were able to creatively advance to Supreme Enlightenment. Bel immersed himself in the four degrees of dhyana and acquired the three kinds of Highest Knowledge. Then, in the last part of the night, before sunrise, while beating the drum, he came to the knowledge of the twelve-member causal chain of the Four Truths of the Holy One. And then, through the power of instantaneous Highest Wisdom, he attained Complete Enlightenment, grew to the height of seven palm trees, and uttered the solemn words of Udan-shan, "The path of my journey is finished..." And the gods sprinkled Bela with flowers that covered him to his knees and honored him, and Meru was filled with light, the earth trembled, and all in the ten sides of the world were filled with joy and welcomed him. And the daughters of the gods also praised him. Then Bel uttered: "The fruit of virtue is bliss and the elimination of all suffering, the plans of virtuous beings will meet with success. Having defeated Mara, they will quickly attain Enlightenment and an unperturbed tranquil self." Bel remained for a week in lotus posture, contemplating under the bodhi tree, even after the gods began to praise him greatly. In the second week, Bel traveled through three thousand worlds. In the third, he again contemplated under the bodhi tree without closing his eyes. And in the fourth week he made another journey to the eastern and western sea. Mara begged him to go, but Bel declared that until the goal of all converts was realized he should not leave, Mara was again shamed. His daughters, Rati and the others, approached Bel to seduce him, but he turned them into old witches. In the fifth week the weather was rainy and stormy, and Bel was staying at this time in the region of the king of the Nagas, Muchilinda. On the sixth, he went to the pyagrodha ajapala tree and addressed the parivrajakas: "Blessed is the secluded life of one who has heard the teachings and perceived the Truth, but full of unceasing bliss is the life of one who softens animated beings but harms none." In the seventh week he was at the trunk of a fig tree, where the merchants Trapusha and Bhadika presented him with honey, rice gruel and sugarcane, the bark of which had been removed. Bel said: "It is not good to take with one's own hands. The former had a kero, a bowl into which they took." Then the four guardian kings brought him vessels made of gold and other precious stones and metals, but he did not take them. Then each king took one of the four vessels that had been presented to Vaishravana by the deities of the Blue Abode, filled them with flowers, offered them to him and saluted the Enlightened One. Bel replied to them, "Give a simple bowl and you yourself will be a vessel of the Highest Teachings. He who offers the cup to one like me will never lose his wisdom and remembrance." After these words, he accepted the four vessels and pronounced a blessing, by the power of which they became one. Then Trapusha and Bhalika prepared cream taken from the milk of a thousand cows, poured it into a ladle made of precious stones, and offered it to him. And Bel, after tasting what was offered, threw away the ladle, and Brahma carried it away. "The blessings of the Divine bring happiness to all lands and bring about the realization of all desired goals. All your plans should come to fruition, and everything will soon be favorable to you," he thundered to Trapusha and Bhalika. Bel then sat up, intending to remain in the silence of equanimity, and said: "I have mastered the knowledge of the Truth profound, free from defilement, enlightening, eternal and like nectar. But if I showed it to others, they would not understand. Therefore, I will abide in solitude in the forest. Limitless is my compassion for anyone who lives, and I should not hesitate when others ask me. These living entities worship Brahma. Therefore, if he asks me, I will turn the Wheel of Teaching." He emitted light from his body, and Brahma, crowned with the Shikkhi Mahabrahma, the Lord of the three thousand worlds, sensing this, called his devotees. With six million eight hundred thousand other deities Brahmaloka came to Bel, saying, "You have reached the sphere of the Supreme Divine Wisdom, and the rays of that Wisdom, spreading to the ten sides of the world, cause those lotuses which are living beings to open. O You, Sun of Supreme Speech, why do You now remain indifferent?" Bel expressed his assent by silence, Brahma went away, and Bel remained seated as if he were utterly indifferent. Then Indra came to him saying, "Your mind has attained complete liberation, like the full moon released from the mouth of Rahu, I beg you, you, stand up, you who have won the battle, and let the light of your wisdom appear in the darkness of this world." But Bel did not answer a word. Then Brahma again addressed him: "O Great Sage, I request you to expound the Doctrine, for there are those who are desirous." Bel replied, "Living beings are bound by the bond of desire and are carried away by the stream. I, for my part, have come to the intuition of Truth with great difficulty, for which reason there is no benefit in teaching it." You know that the Nagas dwelt in the Sarcophagus-His Gods, emerging from their cubes. Covered with scales that burn like heat, born from that ocean which is the essence of Dharma-dhatu, not abiding within the two limits of the extreme views of shashvata-anta and uchchkheda-anta, knowing no limits as to their abode, endowed with insight that burns and illuminates with its fiery eyes. Sagara Nagaraja, the king of the Nagas, walked in front with a golden vessel. This vessel he carried away from Bela himself, revered by the Nagas. Sagara Nagaraja got the golden vessel after Bel went to the shore of Neranjara. There Bel laid aside his food as well as his robes and began to wash himself. When Sujata had cut the hair and beard of the Supreme Being, Bel sat down on a seat supported by lions, presented by the naginha of that river, and took up the food. After eating, the Supreme Being threw the golden vessel into the water, and it was carried away by Sagara. The golden vessel was a revered object of the Nagas on a par with one of the eight parts of the Remains of the Supreme Being, and the fourth tooth of that greatest of men, that in the city of Ravana. The gods asked Bel, "Where will you turn the Wheel of Learning?" Bel replied, "In Benares." "In that place there are few people and no shade. It would be better to preach somewhere else," said the gods. "Oh, you beautiful-faced ones, do not say so," replied Bel and went to Benares. On the way the ajivaka addressed Bel, "Your faculties are sharp and your skin is clean. From whom have you learned to live in virtue?" Bel replied, "There is no one who can be my Guru and no one who is my equal. I am the only Victor, perfectly tranquil and free from impositions." Then the ajivaka asked: "Do you call yourself an Arhat?" Bel replied, "I am an Arhat in this world. I am the Guru compared to whom there is no greater. There is no being who can be like Me, including gods, asuras and gandharvas." Ajivaka asked again: "You have said that you are the Victorious One. The one called the Victorious One?" Bel replied, "The victorious ones are those who, like Me, have come to eliminate the impositions. I have conquered all that is detestable, therefore, I am the Victorious One." "Where are You going?" - asked the ajivaka. "To Benares to go I intend to go. Coming to the illustrious city, I will kindle an unsurpassed light for the salvation of the world, which is like a blind man." To the five disciples who had previously left Bela, he said: "You should not call the Victorious One 'long-lived'. A long period of life does not bring happiness. I have attained nectar and have become the Victorious One and the Omniscient One. Have you not just now established an agreement to disrespect Me?" And in that place appeared a thousand seats made of seven kinds of jewels. Bel went around three of them that belonged to the former Victorious Ones and then sat on the fourth. As soon as Bel did this, light began to radiate from his body, illuminating thousands of worlds. The earth trembled and living things became purified. Then the gods presented Bel with a golden wheel with a thousand spokes and asked him to turn the Wheel of Learning. During the first quarter of the night Bel did not utter a word, but at midnight he spoke to please, and so in the last quarter of the night he came to the thing of the Four Truths and turned the Wheel of Learning in twelve ways. So the place was Benares, the time was six years and six months, the teaching was the Teaching of the Four Truths. In that grove where the avenue of sal trees grew, Guru Bel went into nirvana, and scattered flowers in that place. The remains were divided into eight parts. The part of the remains that was given to Ravana was carried away by the nagas. There were ten stupas at that time, and with four dedicated to Bel's eye teeth, there were only fourteen revered. You know that four hundred years after Bela's departure, the son of Brahman Vidarbha - Shriman mastered the propitiation of earthly and super-earthly magical powers, expounded the Teachings in Nalanda. As he was instructing, two boys listened to his interpretation of Bela's Teachings and then disappeared underground. Shriman asked who the two were and it was said that they were nagas. Shriman asked them to bring a mold for casting Ka yaksha and big Ka, inform the King of the Nagas and invite themselves to join them. After receiving the invitation to the realm of the Sarcophagus-His-Gods, he descended to the realm of the nagas and expounded the Teachings there. The Nagas then asked him to stay with them, but he said that he had gone to look for the clay of which luminaries are built, and that he had come for the "Prajnyaparamita-sutra" of a hundred thousand shlokas. "I have no time to stay," he said, "but I can come later. So he took a lot of clay with him. "Shatasahasrika" and "Svalpakshara," one of the minor prajñaparamita-sutras. Part of the "Shatasahasrika" was narrated to him by the nagas. After that ten million luminaries were built of this clay in the Sarcophagus-His-Gods and the Nagas became his friends. So he became known as Nagarjuna. And who is that in our stained glass window on the opposite side of the boy painting clouds over the mountains and the artist standing in front of the throne? Who is it but all the same nagas executed as on the previous stained glass window in the form of two boys, a striking coincidence with the story of Nagarjuna. By the way, the double flame on the torch of the Nagas is the god of the One-Who-Is-Double-Flame who closes the gates of Wernes. So the knowledge or the Nagas themselves helped the first masons start the Renaissance after the Dark Ages. He made the discovery by feeling the energy flowing to his fingertips. And he did it without leaving the stained glass window. "I suppose so, but to draw a conclusion from a stained-glass window in a lodge with a crossed torch and a brush? I should look online about the Quatrocento - early Renaissance," he thought. "If one finds images of Nagas there then.... Then that confirms something," he thought. And one more observation, his right hand clutches a bead of orbs, and one orb he remembered now equaled 3600 years, and his left hand is the handle of a torch. Do the Nagas have left-handed people too? Need to look on the internet to see what astronomical events the time period of 3600 years is associated with? He found what he needed on Wikipedia. "The Babylonian historian, astronomer and astrologer Berosus calls saros a calendar period of 3,600 years; smaller periods bore the names: neros of 600 years and sossos of 60 years. The very word saros in Greek comes from the Babylonian sāru, meaning the number 3600." "Sāros (Greek σάρος), or draconic period, is an interval of time about 18.03 tropical years, after which eclipses of the Moon and Sun approximately repeat themselves in the same order. Such periodicity is due to the fact that at the end of each saros the mutual location and velocities of bodies in the Earth-Moon-Sun system are repeated with very high accuracy. This makes it possible to predict solar and lunar eclipses if the eclipses from the beginning of the saros or the previous saros are known. The best opportunity for predicting eclipses is provided by the period equal to triple saros - exeligmos (Greek ἐξέλιγμος), containing an integer number of days, which was used in the Antikythera mechanism. During one saros there are on the average 41 solar eclipses (of which about 10 are total) and 29 lunar eclipses." As for the Babylonian historian, astronomer and astrologer, attention, "Berosus, more correctly Berossus (Greek Βηροσσσός, Latin Berossos, Hellenized form of the Akkadian name "Bel-utsur" or "Belriushu", dr.-Russian. Berossos) (c. 350/340 - 280/270 BC) was a Babylonian historian and astrologer of Hellenistic times; a priest of the god Bel in Babylon; a contemporary of the Seleucid king Antiochus I Soter (281-261 BC). Berossus became famous for his Greek work on the history of ancient Mesopotamia - "Babylonian (Chaldean) history" (Babyloniaka, Chaldaika) in 3 volumes, which he dedicated to Antiochus I Soter. It is possible that Berosus owns a special work on astronomy, the name of which is known in the Latin version - "Procreatio". Vitruvius reports that Berossus founded an astrological school on the island of Cos and thus introduced the Greeks to the Mesopotamian astrological tradition; he also attributes to Berossus the invention of a bowl-shaped sundial (the so-called scaphis). It is also possible that it was Berossus who introduced Greek astronomers to the hexadecimal numbering system long adopted in Babylonian astronomy. In 1935, the International Astronomical Union named a crater on the visible side of the Moon after Berossus." He called it "killing two birds with one stone". Make a discovery and advance the investigation. "Killing two birds with one stone" was rare, and he recognized that this house without corners was quite a yield. He stands at the window, a table with black metal legs and a white plastic table top. He stares out the window. "When you look at the city, cheerful and noisy, Remember: this is the cemetery, where sorrow and silence are," he is reminded of Abu-l-Atahya. When this house had seen better days, the porcelain trade had flourished. Just where did the porcelain friezes and figurine he had seen here earlier come from, Limoges or St. Irie. If from Limoges, then it's early nineteenth century. "I should look up the porcelain trade in Paris on the Internet," he thought. As if in a dance, he made a key movement toward the red-carpeted staircase railing and saw in the curl an Old French key that placed the note "G" of the first octave on the first line of the notation board. And before that, he spotted a guitar key attached to the body of the guitar with an adjusting screw. As the judges of the Areopagus, the first one organized by Athena to settle their dispute with Poseidon over the possession of Kekropia, again ruled at the time by the nagus Kekrops, there are white plastic chairs of streamlined shape with iron legs. Behind them are doors with a locking pin through their porcelain handles, and a white old heating radiator with a "no trespassing" road sign. Athena, so named by Hephaestus, who in the heat of passion for Inanna - her real name, the word "Ath" - meaning "mouth", the mouth of Inanna, then grew an olive tree in the Acropolis, and Poseidon broke through the key of water. The assembled judges adjudged that the one who first cultivated it would own Kekropia. This house is like a table from Mohenjo-Daro, it is full of symbols seemingly inaudible without a method of deciphering them. The deciphered Mohenjo-Daro tablet had a two-character inscription in Japanese that reads like a dragon, as well as a keyhole image of a mound. On the Internet was information about the mounds in the form of keyholes in Japan, called kofunami. And even later learned of the biggest find since the excavation of the Takamatsuzuka mound. "Kitora Mound is located in the village of Asuka, Takaichi County, Nara Prefecture. Using a fiber-optic endoscope, research at the tomb in 1983 uncovered an image of the Gembu Black Turtle (Xuanwu), a traditional Chinese symbol of the North, and in 1998 paintings depicting a map of the starry sky and other symbols - the Azure Dragon Seiryu (Qinglong, East), and the White Tiger Byakko (Baihu, West) - were uncovered," it reported - it reported. Thought was interested in the star chart, possibly indicating the location of the tomb of the real dragon, as the kofuns echo the shape of the keyhole depicted on the ancient tableau. It was reported, "During the excavations, which began in February 2004, all the murals were uncovered and it was noticeable that many places had bloated and could peel off. Based on this situation, it was decided to take urgent measures to save them - first to remove the swollen parts, then all the other paintings, and then to carry out restoration work outside the tomb. Over the past 12 years, restoration works of three types have been carried out: 1) conservation work in the crypt; 2) removal of paintings from the walls; 3) restoration of the removed paintings. After the work was completed, the paintings on the west wall with the Byakko tiger and starry sky map and the Suzaku bird on the south wall have been on display at the Hall of Deities Museum in Asuka Village since September 2016. The original murals were on display for a limited time, while the permanent exhibit shows the process of opening the tomb, a life-size three-dimensional model of the crypt, and high-resolution monitors to view the murals. The decision to remove the murals in their entirety was made in September 2004, and the process of extracting them lasted more than six years. At the same time, measures were taken to prevent further deterioration of the murals during this period. The relative humidity in the crypt was around 100%, and if it were to drop dramatically, it would threaten to dry out and peel off the paintings. A building was constructed around the tomb to maintain humidity, and the temperature and humidity in the crypt were controlled. At such temperature and humidity microorganisms could develop, so rules were introduced - before entering the crypt to blow themselves with a jet of air, use dust-proof clothing and medical masks, disinfectants. Careful attention was paid to eliminate the possibility of introducing microorganisms, restorers inspected the paintings and controlled the observance of the rules against microorganisms. The plaster was removed from the walls in 2004, and it was quite thick and soft. At that time trowels and knives were used, but then they encountered difficulties - in some places the plaster was hard or very thin, and then they began to use a saw with a diamond string. The wire, on which diamond dust is applied, can cope with very hard materials, and with its help it is possible to minimize losses during sawing. In order to remove a thin layer of plaster evenly, they decided to use a saw that uses such a wire. The plaster has different thicknesses and the stone underneath it is not smooth either - in such conditions different methods were tried, and then, to be sure, a model of a plastered wall was made and practiced on it many times. Using the developed technique, it was possible to cut off the image of Suzaku's Red Bird drawn on a layer of plaster several millimeters thick. In addition, the process of removing the paintings involved the use of fixing materials that allow the paintings to be repositioned and prevent them from cracking immediately after they are cut from the wall. These materials must then be completely removed from the surface. We discussed what materials could be used based on the thickness of the plaster and its location, the curvature of the ceiling, and other factors, and used a fiber cloth we made with an adhesive top layer. The fabric of thin fibers, on which can not live microorganisms, smeared with an adhesive substance that can be dissolved with water and ethyl alcohol, dried and glued on the paintings. On top of this layer was fixed a durable and transparent polymer coating selected according to the condition of the plaster, which would allow the condition of the wall to be seen. In particular, the removal of the starry sky map depicted on the curved surface required a material that would allow the painting to be fixed once it was removed and would hold the weight of the plaster. Fiber Reinforced Plastic (FRP) was chosen for this purpose. The next step was to rebuild the murals from 1,143 fragments. To avoid damaging the fragile plaster, the fragments were reinforced on the underside with additional multilayer backing and cracks were filled. All these materials for backing, bonding and crack filling were selected through trial and error. In 2009, it was decided to start by establishing a facility outside the tomb where the paintings could be worked on and exhibited. This is the initial version of such a facility and it may take on a different form in the future, so it is desirable to recreate the paintings in such a way that they can be taken apart again if necessary. This influenced the choice of materials for the restoration - consideration was given to their durability as well as their ability to be disassembled when used. All materials were selected and developed with this requirement in mind. A substance was used to strengthen the plaster, which can be removed with a solvent during the next restoration. The reverse side of the plaster is reinforced with a high-strength polyacrylate fiber, which is used in body armor, and the paintings are fixed in the frames with a synthetic polymer, which is used in the restoration of cultural property. The cracks are filled with a substance that can be physically removed during the next restoration; its consistency has been repeatedly tested to ensure that it does not shrink when drying. Overseas, frescoes are restored by teams of specialists, but in Japan there are few precedents for painting on plaster, and much of the conservation and restoration work has been carried out by the National Heritage Restorers Association. This association restores state-protected cultural property, mainly Japanese paintings and written documents, and is officially recognized by the Culture Agency. Japanese paintings and calligraphic scrolls have long been renewed at regular intervals, so restorers know in advance that an object will be restored in the future. Whereas when restoring murals abroad, they try to fix them securely and minimize differences from the original, the peculiarity of restoring Japanese paintings is that they will be restored and disassembled again. For example, the framing of pictorial scrolls looks as if it is made of a single cloth, but in reality it consists of several parts, which simplifies the process of disassembly and restoration. A similar assembly technique was used for wall paintings. A thin sheet of paper is often applied to a weathered painting, and after restoration the paper and glue are removed. Paintings of the Kitora barrow were removed from the walls in the same way. In the Kitora Mound murals restoration project, the restoration scientists used their scientific knowledge to choose materials and methods, while the masters of Japanese paintings restoration decided whether they could be used in practice, and they worked in close cooperation. In this way, the process of restoring wall paintings reflected the characteristics of Japanese culture." " (Article in Japanese published November 28, 2016)." It would be tempting for him to find the tomb of a real dragon. He looked at the submariner. After all, right now, it resided in another object continuing the slain man. And by the method of answering the right questions ahead of time, he had almost revealed himself, with only a couple finishing touches left. Of course, this is not only his merit, but that dove who loves without fear of lightning arising in the sky. Such love not only unites two infinite subjective worlds - hers and his, but also illuminates the world around, making it a little kinder. He had seen everything in this house, and what else had he not seen? He had, but he hadn't taken anything, not even the bas-relief of a mustachioed lion that she was no doubt interested in. Of course someone here took something, but whether he was helped by things continuing the man's judgment ba (judgment of the soul) which is unknown, and each thing is a past point - information and a vortex frozen without time. Later, after investigating by the method of early answer to the right questions of the abandoned lodge in Paris, answering the question, "In the year of the dragon. Where is the tomb of the dragon?", he concluded that the tomb of the first dragon was in or near the temple of Hathor (Gator) (Baba Yaga - Ya-ga) at Dendera, at the point at the end of the neck of the constellation Dragon, the projection of the star epsilon Dragon, on the river Nile, where the Delta of the Nile is the head of the constellation Dragon. That from there began the civilization of the constellation Dragon, developing 7600 years, and stopped its development due to the catastrophic shift of the axis of rotation from the constellation Dragon to Polaris of the constellation of the Little Bear. The Waves that followed the shift in the 6th century B.C. stopped the development of the civilization of the Dragon constellation. And Dark Ages in which people of civilization of Polaris (Guiding Star) of constellation of the Small Bear were staying since the sixth century B.C. ended only in the Renaissance. With the direct help of the Nagas or dragon officials. For on the Medici coat of arms: "Cosmvs medices DVX.II.Florentiae.", as on the seal: "Composition of signs in the form of a "coat of arms". Handwriting imprint. Approx. 3.5 cm x 3.5 cm . State Museum, Bhopal.", depicts two dragon heads with blue-green dotted scales on their heads, necks, and bodies, only out of their mouths peek two orange-red men. With one hand these red-skinned men reach for the golden crown above the coat of arms with pyramidal teeth and pearls on their tops, and with the second hand - for a blue plant, apparently one of the species of orchids. From the place where the necks of the dragons pass into their bodies two twisted vertical waves with golden crests and a purple base begin. The first wave is smaller than the second. The second wave crests on either side almost reach one of the orchid species, and the crests of these second waves are touched by the forearms of the red-skinned men. Instead of a kofun, in the center between the dragons is a large golden blob with a sharp peak pointing downward. At the bottom of it on a point, apparently an extension of a blue-colored plant of one of the species of orchid, are two pointed leaves curled downward. The end of these leaves and the two ends of the dragons' tails point to a blue heart. In the large golden drop are five red orbs, apparently representing the stars of the dragon's head from the Dragon constellation. The head of the constellation Dragon from these orange-red balls-stars goes from bottom to top and as if tries to swallow a blue ball with gold unopened flowers, probably representing the planet Earth. Thus Medici - it is nagas, or officials-dragons, and that such officials-dragons, lived in Italy speaks numismatics, bronze coins with the image of designation by ancient writing Mohenjo-Daro - "time of Brahmans" on: "The composition of the signs in the form of a "coat of arms". Handwriting impression print. Approx. 3.5 cm x 3.5 cm . State Museum, Bhopal." and on: 1. Dupondium drachma. This bronze coin, weighing an average of 4.3 grams between 260 and 242 B.C., was cast during the Roman Republic; 2. Cast bronze coins of various denominations from eastern Etruria (near Arezzo). They were exceptionally found in southern France and the western Balkans. Dated with unresolved chronological problems to the end of the 4th or 3rd century BC; 3. The 8-stateriz coin was minted in southern Italy by the mint at Sycharis around 530-500 BC; 4. The Litra is a bronze coin that first appeared in the Greek world in Sicily around 430 BC; 5. The Tressis is a bronze cast coin of the Roman Republic. Appears for a short time in the first half of the 3rd century BC. Something resembling a Roma is depicted on the front, and on the back it has a wheel with spokes. On both sides of the coin there is a sign of denomination III (from himself he added - or from the ancient writing of Mozhenjo-Daro - "ai" - translated as "love"). That is, the civilization of the constellation of Dragons, probably at the end of the VI century BC, had its own monetary system, the dragons had a hard time when these coins (mostly bronze) stopped paying them (for example, in Japan: "Once, when the tatsumaki raged, an empty money string fell to the ground; the coins were obviously taken by a dragon, then threw away the string. Another time, a ship with a large amount of money on board, was attacked by a dragon in the form of a violent storm. As for the floods that were heralded in advance by dragon battles, we can open the History of the Song Dynasty, which says that in the fifth year of the Jian-dao era, such a battle in the air was observed during a violent storm. "Two dragons fled away, and pearls the size of wagon wheels fell to the ground, where they were found by shepherd boys. The next year a flood struck the country." The beautiful stones remind us of Indian dragons; sea pearls, of course, were considered both in India, China, and Japan to be the special property of the dragon-shaped sea gods. Finally, Ben-tsao gan-mu tells us that "the dragon has whiskers on the sides of his mouth and a bright pearl under his chin; under his throat his scales lie in the opposite direction; on the top of his head he has a broad bump, called chi mu in writing; if the dragon has no chi mu, he cannot ascend to heaven. Its breath turns into clouds, and then can change into water and into fire. A fish turning into a dragon is depicted on the altar table of the Yu Fu-dian of the Fa-yu Temple on Pu to Shan, and dragons trying to grab the magical flaming "pearl" hanging on the Dragon Gate can be seen in the same temple. Perhaps the flaming "pearl" is the eye of Ra between the horns of Hathor (Gator). In Japanese myth, the serpent, or dragon was almost always associated with water in one of these forms." He quotes an engraving on the same page, and we see at once that we are here not so much in Chinese as in Indian territory. In the Introduction I mentioned Grunweddel's description of the dragon in Indian art, so that it is needless to repeat here that "dragon-heads appearing over human heads" form quite an Indian motif, carried over into China, and thence into Korea and Japan. As the sea-god in the grand palace was an Indian conception, Japanese art represented him, of course, in the Indian way. This, however, does not prove that the Wani was originally identical with the Naga, or with the Sino-Indian Dragon Kings." "Concerning the treasures of the tides we may recall the Mizu kagami, which contains a legend evidently made by association with the Hiko-Hohodemi narrative in the Kojiki and Nihongi. It tells of the following. In 200 A.D., when Empress Jingo (200-269) arrived in Korea, she scooped up sea-water with the palm of her hand and prayed from afar to the deity of Kashima (in Hitachi) and Kasuga (Takemikazuchi, to whom the famous old temple at Kashima and another on Kasuga Hill in Nara, called Kasuga-daimyojin, were built; the latter, however, was not built before 710 A.D.). Then the gods Kasuga, Sumiyoshi and Suwa, dressed in armor and with helmets on their heads, appeared at the empress's ship. Kasuga sent the Great God (Daimyojin) of Kawakami to the Dragon Palace (龍宮, ryugu) at the bottom of the sea, and this mighty river god took the "pearl of the ebb" and the "pearl of the tide" from the Great Dragon King Sagara and brought them with him to the surface. When the Korean warships began to line up in battle order, the tide pearl thrown into the sea suddenly dried up all the water. King Koma then stepped onto the sea floor with his troops to destroy the Japanese fleet, but as soon as he did so, the god Kawakami, following Kasuga's order, threw the pearl of the tide into the sea, and the water suddenly arrived and flooded the land. The terrified troops prayed for their lives as the water covered even the entire land of Koma. Then the pearl of low tide was again thrown into the sea and the water subsided. Thus the assistance rendered by Kasuga to the empress helped to defeat the enemy army without shedding a single drop of blood, and to obtain three ships laden with tribute and treasure from the king of Koma. "This is an interesting legend related to the change in the axis of rotation. Apparently at this time the center of the concentric circles of the starry sky began to shift actively from the constellation of the Dragon lower down the oblique to the constellation of the Little Bear, he suggested, and continued reading, "In the Nihongi, we read that in the second year of Emperor Tuai's reign, Empress Jingo discovered in the sea a nyo-i-tama (如意玉), 'a jewel that fulfills all wishes' (chintamani). We are told about these jewels in the Indian tales of the Nagas. Florenz remarks in a note to this passage that Usa no miya engi tells how the empress received two jewels from the Dragon Palace: kan-ju and man-ju, the above-mentioned pearls of the ebb and flow of the tide, and that this book describes them as five suns in length, the former white and the latter blue"-apparently used to predict the tsunamis that would follow a shift in the starry sky, he speculated. And how they buried the dragon official in the IV century BC in the South Ural steppes says Filippovsky mound 7 meters high with a diameter of 100 meters. Not far from the stepped entrance to the tomb stood a massive cast bronze cauldron with two rounded handles on the sides and two square handles above the ribbed edge circle. It was just over a meter in diameter. Information on the weight of the boiler is 500 kilograms. The pyramidal pattern on the dark gray cauldron is depicted by prominent volumetric lines. Equal-sided triangles of the pattern go around the circumference of the entire boiler height from the ribbed edge of the corolla - the outer rim, to the beginning of the bottom rounding. Apparently, the cauldron filled with water served the dragon official as a round large mirror surface. The cauldron had the appearance of a bowl with a rounded bottom and tray. "Square handles", in the interpretation of archaeologists "heads of griffins touching beaks", in the patterns of the horned dragon on opposite sides from the center carried round spherical inserts with two black balls in opposite places and two malachite-colored balls at them making triangles with them, in appearance having a resemblance to the Dragon epsilon and stars not included in the constellation of the Dragon, but arranged in the same way. Apparently, the reflections from these orbs were projected onto the water mirror surface in the "cauldron". Archaeologists in "numerous sacrificial memorial complexes" were dug up skeletons of horses and the remains of iron and bronze parts of horse harness, which, in his opinion, speaks of how many times this official-dragon caused rain, saving life from drought in the South Ural steppes. These animals - horses, were her gifts, and therefore a continuation of her infinite subjective world, so after their death, buried together with the dragon officials, and not killed, as archaeologists assume. In the excavated burial mound, the remains of a dragon official rested under a deck of logs filled with dense layers of soil on a multi-layered bedding of bark, reeds and grass. A round mirror with a handle was the third in a row of things that continued the infinite subjective world of the dragon official, on her left hand, who had died at the age of about 35. A round silver mirror lay opposite her left hand in a bark case. The gilded handle of the mirror at the circle mount had patterns of swirling waves lying on its side, and beneath them a flat figure of a one-horned dragon with a neck and head identical to the neck and head on the "Composition of marks in the form of a "coat of arms". Handwriting impression print. Approx. 3.5 cm x 3.5 cm . State Museum, Bhopal", with four paws under the torso. Beneath the one-horned dragon, an openwork design with voids in the form of seven rhombuses and three holes forming a cross with the rhombuses, and flanked by hollow formations in the form of arcs. At the end of the handle is embedded in a rectangle flat figure of a horse, with a front leg with a hoof thrown upward, with a hind leg with a hoof thrown upward, with a tail raised upward with a loop, with a head thrown to the croup. Above the horse's head are two balls each with a holey hollow break between them. The back of the silver mirror consists of three concentric circles. In the central circle there is a gold bas-relief of an eagle spreading its wings and paws apart, in the second circle there are gold bas-reliefs of 6 one-horned winged dragons following each other, and in the third circle there are alternating gold bas-reliefs of 8 blooming flowers and 8 unblooming flowers. Rare, possibly Uralic flowers. Possibly a type of orchid. Why orchids? "Orchidaceae, or Yatryschnaceae, also Orchidaceae (Latin: Orchidáceae) is the largest family of monocotyledonous plants. More than 10% of the family is characterized by CAM-photosynthesis. Orchids are an ancient family that appeared in the Late Cretaceous era. Nowadays orchids are found on all continents except Antarctica. Most species are concentrated in tropical latitudes. Here, in areas with a short dry season and high precipitation, they find the most favorable conditions for their growth. The peculiarity of orchid flora on different continents is a characteristic feature of their distribution. Orchids of temperate latitudes are perennial terrestrial herbs with underground rhizomes or tubers, while in the tropics epiphytic orchids are most widely represented. In the temperate belt, the orchid flora is much poorer than in tropical latitudes. Only 75 genera (10% of the total) and 900 species (4.5%) are found in the temperate latitudes of the Northern Hemisphere. Even fewer - 40 genera and 500 species - are found in the southern temperate zone. We have 419 species belonging to 49 genera." Thus, the orchid on the silver mirror, is depicted, first because it is distributed on all the inhabited continents. "Of the life forms, perennial herbs dominate, with small shrubs and large woody lianas being less common. Along with autotrophic forms, saprophytic forms are often found. Among tropical species in greenhouse growing conditions, "long-livers" of 70 or more years are often observed. Orchid sizes range from a few millimeters to 35 meters (Vanilla planifolia). Epiphytes, lithophytes and terrestrial orchids are distinguished by the nature of their growing substrate. Most orchids are epiphytes. Lithophytes and terrestrial life forms make up a much smaller group. They are predominantly distributed in temperate latitudes. All orchids enter into symbiosis with mycorrhizal fungi, which supply the plant with water and mineral salts, receiving organic matter in return. There are also mycotrophic orchids that lack chlorophyll and actually parasitize the symbiont fungus (e.g., the nesting orchid, as well as the Australian orchid Cryptanthemis, which blooms underground)." Secondly, orchids bloom even underground, it is a kind of "Stone Flower" for underground cities built by the Dragon constellation civilization. "Epiphytic orchids, as a rule, develop numerous aerial roots, devoid of hairs, but equipped with specialized suction tissue - velamen. In some epiphytic orchids the leaves are reduced and the function of photosynthesis is taken over by flattened green roots (Phalaenopsis). The orchid collection of the Royal Botanic Gardens, Kew, contains 24 specimens of orchids preserved since the early 20th century (their age is about 100 years); the age of plants of 130 species exceeds 50 years, and the age of plants of 500 species exceeds at least 20 years". Third orchids were chosen for their long-lasting blooms. "Orchids are known primarily as beautifully flowering ornamental plants and are favorite greenhouse plants. Particularly popular are species of the genera Cattleya, Dendrobium, Phalaenopsis. The fruits of the Vanilla planifolia are used as a valuable spice ("vanilla sticks"). The fleshy tuberous roots of a number of orchids (e.g., Dactylorhiza maculata, Platanthera bifolia, Gymnadenia conopsea, Anacamptis pyramidalis and others) contain starch and are used in medicine under the name Tuber Salep (or Salep) (Lat. Tuber Salep) as an enveloping agent and for nourishment of weakened patients". Fourth on the mirror of the Dragon constellation civilization, this species of orchid was chosen not only for its beauty, but perhaps for some medicinal properties. "Depending on the morphological features of the tuberous roots, a distinction is made between round salep and palmate salep. Flowering of orchids of different species lasts from 2-3 weeks to several months, many hybrids bloom twice a year, and in some cases, with proper care, some of them are able to bloom almost continuously." And fifth, the continuous blooming of the orchid directs the thought toward the floral clock. Since perhaps the mirror depicts an orchid flower, perhaps there is some sort of flower clock here. And that means officials-dragons in their activity used and flower clocks, determining the time and the relationship with the constellation of the Dragon on blossoming, in this case - one of the species of orchid. So everything about dragon officials is on: "Cosmvs medices DVX.II.Florentiae." - the Medici coat of arms. So the Medici were looking for guys who were exploring the abandonments of ancient Rome, until a dragon official guided them to the path of the Renaissance. 19.02.2024 г.
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