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PostPosted: Mon Feb 07, 2011 7:26 am 
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Leonardo modelled the twelve apostles on the twelve constellations of the zodiac, around Jesus Christ as the sun.

Examine the positions of the hands of each apostle and compare them to the diagram of the constellation below, in order of the twelve heads across.

Aries: three visible stars with long line and short line joined at angle of 150 degrees
Taurus: One hand forms the Hyades around Aldebaran, the other hand forms the Pleiades
Gemini: Two arms ending in the twins Castor and Pollux
Cancer: Hands to the heart as a crab
Leo: leonine head
Virgo: single hand similar to shape of stars

The Sun: Jesus Christ

Libra: two hands together in balance
Scorpio: Judas as exact match to shape of scorpion with arm as body and dagger as sting
Sagittarius: arms and hands closely match stars
Capricorn: two hands and elbow form triangle
Aquarius: arms and hands exact match to stars
Pisces: arms and hands exact match to stars.

Further allegorical discussion: http://wiki.astro.com/astrowiki/en/Leon ... ast_Supper

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Leonardo da Vinci's "The Last Supper" is considered to be one of the most important paintings in the history of art. A less well known fact is that Leonardo had intensively studied a variety of mystic and spiritual teachings and that the twelve apostles are a symbolic portrayal of the twelve signs of the zodiac.
The apostle on the far right of the painting is Simon who stands for Aries, the first sign of Aries. The distinctive head and dynamically gesturing hands pointing to his left clearly illustrate this fact.
Thaddeus, the apostle immediately to Simon's left, symbolises Taurus. The powerful "Taurean neck" coupled with his hands which he is pointing at his own physical body are a testament to this.
Next comes Matthew who represents the sign of Gemini. The head and hands point in different directions, symbolising the open and often sometimes indecisive energy of Gemini.
After Matthew comes Philip who stands for the sign of Cancer, symbolised by his gentle, soft and vulnerable appearance which is the most feminine of all the apostles.
Next comes James, son of Zebedee, who stands for the sign of Leo. He has an air of certainty which is indicated, among other things, by his confidently outstretched hands.
Barely noticeable behind James is doubting Thomas, symbol for the modest sign of Virgo. When Virgo does say something it tends to be in a critical or questioning manner, as illustrated by his raised index finger.
Continuing on the other side of Jesus we find John, his favourite apostle who unmistakably stands for the sign of Libra. His whole character expresses a longing for love and harmony.
He stands in stark contrast to Judas, betrayer of Jesus. His dark, grim expression stands for the energy of Scorpio, the sign of death and transformation.
The next apostle is Peter, the Sagittarian among the apostles. He appears to be dynamic and energetic, but in a rather chaotic sense and not as focused as Aries as symbolised by Simon.
Next to him sits Andrew, who represents the sign of Capricorn. He seems rather aloof but at the same time clear and decisive. His hands are raised in a gesture that clearly indicates where his own boundaries are which makes the most steadfast impression of all the apostles.
The next disciple to his left is James, son of Alphaeus, who is the Aquarian among the disciples. He has physical contact with both Andrew and Peter, symbolising the Aquarian ideal of contact with like-minded people.
The last apostle is Bartholomew, who represents Pisces, the sign that completes the zodiac. He seems to be observing the proceedings with an air of equanimity without really being involved. It is also an interesting to note that his are the only visible feet in the whole painting. Feet are associated with Pisces. In the middle of the painting sits Jesus, the Sun around which everything revolves.
The Last Supper is not the only example of deep esoteric symbolism in great works of art. It may not be presumptuous to state that only those with an understanding of astrology and other esoteric disciplines are in a position to truly appreciate great historic works of art.


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PostPosted: Fri Feb 11, 2011 7:44 pm 
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Wow Robert, good find! I can't believe that I've never noticed that before.

"The Tulip Code"

:lol:

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The Jesus Mythicist Creed:
The "Jesus Christ" of the New Testament is a fictional composite of characters, real and mythical. A composite of multiple "people" is no one.

The celestial Origins of Religious Belief
ZG Part 1
Jesus: Hebrew Human or Mythical Messiah?


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PostPosted: Sat Feb 12, 2011 2:42 am 
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Well, I posted it here first, but subsequently at Booktalk and bautforum.

Booktalk thread has been very active - http://www.booktalk.org/the-zodiac-in-l ... 10213.html

Guys at baut pointed out an error - I confused Judas with Peter. I thought the order was heads not bodies, and Judas and Peter cross over - how is that for an irony. Judas (Sagittarius) is the moneybags with his head is in front of Peter's heart, while Peter (Scorpio) wields the secret knife.


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PostPosted: Sat Feb 12, 2011 8:58 am 
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I just took a look at that, Peter is in the sagittarius position holding the knife from behind Judas is most certainly associated with Scorpio, the back bitter. It looks like Peter's posture is simply to reflect the sign of sagittarius. What are the guys at BAUT forum talking about?

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The Jesus Mythicist Creed:
The "Jesus Christ" of the New Testament is a fictional composite of characters, real and mythical. A composite of multiple "people" is no one.

The celestial Origins of Religious Belief
ZG Part 1
Jesus: Hebrew Human or Mythical Messiah?


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PostPosted: Sat Feb 12, 2011 10:25 am 
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The guy with the grey hair in the middle of the autumn set is Saint Peter. He is concealing a knife behind his back, ready for some ear slicing on Good Friday. Judas is the fat guy sitting at the table in front of Peter and holding the money bag. Peter is Scorpio and Judas is Sagittarius in the stellar template. The stellar template is in the order of heads, but the traditional order of left to right is the bodies. These two are the only ones who cross over each other, perhaps suggesting that the church of Peter has Judas at its heart because of how the church has betrayed the natural story of Christ. I initially got it wrong in thinking Judas held the knife, based on the 'Iscariot' etymology of dagger man. The heads are in four groups of three, matching to the four seasons, from right to left, of spring, summer, autumn and winter, in the order of the twelve signs of the zodiac.

http://en.wikipedia.org/wiki/The_Last_Supper_(Leonardo_da_Vinci)#The_painting says: "Judas Iscariot, Peter and John form another group of three. Judas is wearing green and blue and is in shadow, looking rather withdrawn and taken aback by the sudden revelation of his plan. He is clutching a small bag, perhaps signifying the silver given to him as payment to betray Jesus, or perhaps a reference to his role within the 12 disciples as treasurer.[4] He is the only person to have his elbow on the table. Peter looks angry and is holding a knife pointed away from Christ, perhaps foreshadowing his violent reaction in Gethsemane during Jesus' arrest. The youngest apostle, John, appears to swoon."


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PostPosted: Sat Feb 12, 2011 8:52 pm 
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I'm just pointing out that the lore places Judas as Scorpio in that Jesus' life ministry represents the sun going starting in Capricorn and going around the zodiac. Scorpio back bites the sun sending it to it's allegorical death and the scorpions sting renders an image much like two lips, the kiss of death sending the sun to the crossing over at the solstice.


_________________
The Jesus Mythicist Creed:
The "Jesus Christ" of the New Testament is a fictional composite of characters, real and mythical. A composite of multiple "people" is no one.

The celestial Origins of Religious Belief
ZG Part 1
Jesus: Hebrew Human or Mythical Messiah?


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PostPosted: Sat Feb 12, 2011 9:13 pm 
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Yes, and that lore of Judas as Scorpio was why I initially assumed that the guy with the knife was Judas. But there is a deeper meaning here, that Leonardo is deliberately crossing over Judas and Peter, placing the head of Judas at the heart of the scorpion, to indicate that the church of Peter has betrayed the legacy of Christ. The true meaning is hidden in the astrotheological imagery of the encoding of the twelve signs of the zodiac in order in the Last Supper. Astrotheology is the real Da Vinci Code.


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PostPosted: Sat Feb 12, 2011 10:28 pm 
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That's funny because I literally said that years ago, just because the DC was about a big cover up and the real cover up in the church has to do with covering up the allegorical meanings of their myth, not some evemerist theory about a real Jesus banging a real Mary. Dan Brown came about half way to the actual Code with his evemerist theory fiction. When I said this years ago I had no idea about all of this mapping out the zodiac in the painting. But I did realize that Jesus is in the middle of the twelve as the sun in the middle of the 12 signs. I just didn't realize that LD intentionally painted with that in mind. But it looks like he did and in hind sight it makes perfect sense to discover such a thing.

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The Jesus Mythicist Creed:
The "Jesus Christ" of the New Testament is a fictional composite of characters, real and mythical. A composite of multiple "people" is no one.

The celestial Origins of Religious Belief
ZG Part 1
Jesus: Hebrew Human or Mythical Messiah?


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PostPosted: Mon Mar 07, 2011 4:24 pm 
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To indicate even more clearly how Leonardo used the stars as his template for The Last Supper, please consider this diagram, applying the same distortions to the first twelve letters of the alphabet as Leonardo applied to the patterns of the sky. As noted, the likelihood of these patterns appearing by chance is vanishingly small, especially considering that this explanation matches precisely to the widespread traditional pantheist equation between Jesus Christ and the sun, and between the twelve apostles and the twelve signs of the zodiac.
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How Leonardo used the signs as templates.GIF
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PostPosted: Sat Apr 09, 2011 4:34 am 
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I've been discussing this topic at two boards

http://www.bautforum.com/showthread.php ... o-da-Vinci

and

http://www.booktalk.org/the-zodiac-in-l ... 10213.html

I would be grateful for comment here. My view is that this analysis is correct. Many others cannot see it. I will continue to provide further detail to explain the argument. I think it is important for the archaeoastronomical thesis that Christ and the twelve disciples are an allegory for the sun and twelve signs of the zodiac.


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PostPosted: Sun Apr 10, 2011 6:54 am 
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Perhaps some food for thought regarding Leonardo.

Catacombs in Rome

One of the earliest depictions..... look at details above the two dualities, gate open-gate closed.
Image

Work of Leonardo.... look at details above the infant Jesus and infant John, gate wide-gate narrow.
Image

Pointing finger all the time this John....
Image


Quote:
Next comes James, son of Zebedee, who stands for the sign of Leo. He has an air of certainty which is indicated, among other things, by his confidently outstretched hands.


Barely noticeable behind James is doubting Thomas, symbol for the modest sign of Virgo. When Virgo does say something it tends to be in a critical or questioning manner, as illustrated by his raised index finger.


This James and this Thomas almost looks like a "twin".... Although symbolic raised index finger may perhaps found used regarding a different person :wink: . Now if it was John and Thomas, twin as origin and name and symbolic implication arise.

Image

Looking at painting as a depiction of metaphorical people in a metaphorical situation are perhaps intended. perhaps merged with Thomas "the twin". Who is this on the other side of Jesus as axis mundi? Could it be... :D
Perhaps this picture is created to do just what it does, fascinate and encourage people to gain and appreciate value of knowledge....

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Never place blame on man, because it happens to all. No matter how wise, a fool he becomes, when love steals his powers.

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PostPosted: Mon Apr 11, 2011 3:37 am 
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The difficulty people are having in following the case I have presented in this thread reminds me somewhat of a Sudoko puzzle. At first glance, a hard Sudoko looks impossible to solve, but with careful precise logical analysis, it turns out to have just one answer.

For The Last Supper, the method to find its hidden template involves looking carefully and precisely at the detail of each figure to see how the star patterns of the ecliptic are embedded in the same order as we can observe in the night sky. If all thirteen figures in the painting can be shown to conceal the expected patterns, it involves a solution as unique as a Sudoku. Evidence of deliberate design is that the embedded figures appear in the same order as in the sky, in continuity with other sources that match the twelve apostles with the twelve signs.

For each figure, we need to look at the specific configuration and ask if it has been intentionally structured in that way in order to depict the naturally observable constellation shape.

From right to left, the analysis of the figures reveals the following correlations with the constellations of the ecliptic in order. Links are to Wikipedia star maps.

I have explained these simple and elegant direct correspondences in some detail because my earlier explanations were not clear enough. I hope that readers will examine the detail.

1. The constellation Aries has three main stars, in a bent line with angle about 150°, with ratios between the two segments of about 3:1. The first apostle, Simon, holds his hands forming this precise shape, with the right hand forming a short line and the left arm a longer line in the same ratios and angles as the three stars of Aries.
2. The constellation Taurus contains two main prominently visible star groups. The Hyades, centred on Aldebaran, form an isosceles triangle with angle about 40°. The Pleiades is a small cluster with about 6 visible stars. Looking for these shapes in the second apostle, Thaddeus, we see that his left hand is held with thumb and forefinger forming two lines at the same angle as the two longer sides of the Hyades triangle, with the thumb making a straight line and the fingers a curved line in exactly the same way as the asterism. Thaddeus’s right hand, placed in the same position relative to the left hand as the Pleiades is from the Hyades, has all five fingers forming a shape that matches the stars of the Pleiades.
3. The constellation Gemini contains two parallel lines of stars starting from the bright stars Castor and Pollux, known as the twins. The match of Gemini to the third apostle, Matthew, is particularly interesting in revealing how Leonardo used specific natural observation of the night sky as his template. Matthew’s arms form two parallel lines that match Gemini. But Matthew’s left hand is in the position of the star conventionally included as one of the horns of the bull Taurus, extending beyond the conventional boundary of Gemini along the ecliptic. So we can see that Leonardo did not just use traditional constellation boundaries in a mechanical way as his template, but looked for himself at the night sky and modeled the ecliptic stars as they are observed.
4. The fourth constellation, Cancer, is shaped like a cleft stick, with four stars, three of them on the circumference of a circle and one near the centre along the diameter through one star and through the midpoint of the other two. The fourth apostle, Philip contains this precise shape in the angle between the head and his arms.
5. The fifth constellation Leo, has the distinctive shape of the mane of the lion around the star Regulus at the base of the question mark (?), and a second group of stars at the lion’s tail around the star Denebola. The fifth apostle James contains these star shapes, although in the most concealed manner of the thirteen constellations in The Last Supper. His left hand is cupped like a question mark, forming the same shape as the group around Regulus, and his right hand matches the position of Denebola.
6. The sixth constellation Virgo, forms a rhombus with diagonal ratios of about 1:4, similar to the iconic shape of the Virgin Mary. Looking at the sixth apostle Thomas, we see his left hand pointing to the sky (perhaps as a clue to Leonardo’s observational source in the night sky?) exhibits this same rhombus shape, but shrunk much smaller than the relative size of the constellation. Again, like Taurus, we see that Leonardo used the main visible asterism, the rhombus shape, rather than mechanically using all the stars now classified as in Virgo. So the bright star β near Denebola is part of the official constellation of Virgo, but does not appear to be part of the asterism that Leonardo used as his template.
7. The seventh constellation, Libra, the scales, is shaped like a balance, with a central star as the balance point, and two stars on either side as the ends of the beam and the two trays, much like the traditional symbol of justice as a set of scales. Looking for this shape in the seventh apostle John, the first to the right of Jesus, we can readily see that his clasped hands are in the position of the balancing star, his elbows are in the positions of the two beam stars, and his shoulders are in the positions of the trays of the scale.
8. The eighth constellation, Scorpio, is among the most prominent and readily identifiable shapes visible in the equatorial night sky. The bright star Antares is at the heart of the scorpion, surrounded by stars that track along the south of the ecliptic in a curve easily identified as the tail and sting of the scorpion. In the Last Supper, we see that the apostles Peter and Judas cross over, with Peter standing to the right of Judas, but leaning across so his head is to the left of Judas. It is clear that Leonardo has used the constellation templates in the order of the apostle’s heads, Peter’s right arm curves in the same way as the curve of the tail of the scorpion, and he holds his sword in the exact same position as the sting of the scorpion. His left arm and head are in the position of the stars at the scorpion’s head. The head of Judas, in front of Peter’s heart, is in the position of the bright star Antares at the head of the scorpion. (Ophiuchus, the next constellation on the ecliptic, actually barely touches the ecliptic, and its official boundaries include much of the ecliptic that is actually closer to Scorpio. This means we should not expect to find Ophiuchus in The Last Supper.)
9. The ninth constellation Sagittarius is conventionally depicted as a teapot. In the sky Sagittarius is visible as a group of bright wide pairs of stars across the Milky Way. Looking to map this to the ninth apostle (in order of heads), Judas, sitting at the table with his money bag, we can readily see that he matches the stars of Sagittarius as follows: Right hand = ζ, right elbow =τ, right arm and shoulder = σ and φ, head =λ, left shoulder =δ, left arm = ε, left hand = η. Again, some peripheral stars are not part of the template. His arms are bent with exactly the same angles as the constellation.
10. The tenth constellation Capricorn forms an equilateral triangle. We see this shape in the angles of the triangle formed by the head and hands of Andrew, the tenth apostle.
11. The eleventh constellation, Aquarius, matches precisely to the eleventh apostle James. ε matches to James’ left hand, draped around Andrew. β matches his left arm, and the stars αγδλ match his body.
12. The twelfth constellation, Pisces matches the twelfth apostle Bartholemew. α, the knot joining the ropes that conventionally end in the two fishes, matches the knot in his robe at his shoulder. The lines of the ropes, appear in the same angle as the lines of Bartholemew’s right arm and the line from his shoulder to his left arm.
13. Jesus Christ, the central figure, matches to Pisces. His right hand shows his fingers in the same shape as the fish known as the circlet, his head is in the position of the knot star, and his left hand is the other fish. There is a wide convention associating Jesus with Pisces, for example with the Christian symbol of the fish. Pisces is also the location of the March equinox. The equation between Christ and Pisces surrounded by the twelve apostles matching to the twelve ecliptic constellations, shows strong continuity with earlier Christian iconography, for example in stained glass windows at the cathedrals of St Denis and Chartres in France, which depict Christ as lord of the cosmos together with the twelve signs of the zodiac.


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PostPosted: Sun Mar 10, 2013 5:26 pm 
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The Last Supper by Leonardo da Vinci Maps the Star Path of the Sun

Leonardo’s sublime fresco, The Last Supper, depicts the story of the meal Jesus Christ shared with his twelve disciples the night before he was crucified. My analysis of the stances of Christ and the disciples indicates that Leonardo used the twelve constellations of the zodiac, the star path of the sun, as his template for the painting.

The twelve apostles are based on the successive star patterns traversed by the sun each year. Christ himself is modelled on the constellation Pisces, the star position of the Sun at the spring equinox through the two millennia of the Christian Era.

The Last Supper shows animated conversation and high drama, as Christ accuses Judas of betrayal.
Attachment:
Last Supper Figures Detail.jpg
Last Supper Figures Detail.jpg [ 27.61 KiB | Viewed 1988 times ]

Adding the star map, we obtain the following results, with lines based on direct observation of the visible ecliptic star shapes in the night sky in their correct order.
Attachment:
Last Supper Figures Detail With Constellation Shapes Added.jpg
Last Supper Figures Detail With Constellation Shapes Added.jpg [ 31.23 KiB | Viewed 1988 times ]

On our right (Christ’s left), we see firstly Aries, with hands in the shape of the three stars of the Ram, speaking with Taurus the Bull, whose right hand makes a V in the shape of the Hyades, the Bull’s Head, and whose left hand has fingers making a circle mapping the Pleiades, the Bull’s Shoulder. Next, Gemini holds out his two arms in parallel, just as the twins Castor and Pollux stand at the end of two parallel lines of stars. This group of three disciples maps the stars which at the time of Christ were passed by the sun in spring.

The next group of three disciples maps the stars of summer, grouped towards Christ to show adoration, awe and insight. Cancer stands with devoted hands to heart, forming the same Y shape as its star group. Leo has left hand curled in the familiar mane of the lion’s stars with Regulus at the heart, and right hand modelled on the lion’s tail, Denebola. The hand of Virgo points to the sky, forming the Virgin Mary shape of the star group, and calling us to look up.

In the middle, Jesus Christ is modelled on the two fishes roped together seen in the stars of Pisces. His head is in the position of the star Alpha Pisces, the knot, Alrisha. This knot binds on earth what is bound in heaven, as explained at Matthew 18:18. Christ's arms map the two lines of stars joined at the knot, forming ropes extending to the two fish seen in his hands. Christ’s right hand forms the asterism of the circlet, the ring of stars seen as a fish where the equinox now stands, while his left hand is the other fish. The reason why Leonardo would have used Pisces to depict Christ is that the Sun begins the natural year at the spring equinox in this constellation, so Christ as Pisces symbolises the Sun.

The next group of three, forming the season of autumn, shows the star shapes of Libra, Scorpio and Sagittarius. Libra, conventionally John or the Beloved Disciple, has arms and hands forming the traditional weighing scale shape of its constellation. Next comes an interesting pair. Scorpio, Saint Peter, conceals his sword in the position marked in the sky as the sting of the scorpion, with his arms and head curving to form the scorpion’s body and claws. In front of Scorpio we see Sagittarius, Judas clutching his bag of thirty pieces of silver. Judas exactly models the dense star field seen in this constellation of the Archer where the zodiac crosses the Milky Way. The head of Judas is in front of the heart of Peter.

Finally, the three winter months show Capricorn, with head and hands in the triangle shape of the sea-goat, then Aquarius with arm draped across Capricorn and using the matching star group of the Water Bearer as template, and finally Pisces, using the same star shape as Christ, but with the knot an actual knot of his robe above his shoulder, and hands again forming one round fish, the circlet, and another fish as an extended line from the rope, just like its star group, and rather like Christ.

This embedded astronomy reflects the natural scientific philosophy of Leonardo da Vinci. Renowned as a keenly observant and accurate depicter of nature, Leonardo has used The Last Supper to show the great central story of the Gospels, that Jesus Christ is a mythological earthly reflection of a perceived heavenly reality. The heavenly reality mapped in The Last Supper is the actual visible natural path of the sun through the stars.

Leonardo’s Notebooks help to explain his motives. Forty years before Copernicus, Leonardo wrote ‘the sun does not move’, a statement that anticipated the new heliocentric understanding, and showed his keen interest in astronomy. He frequently alludes to the idea that the microcosm is a reflection of the macrocosm, for example comparing the human body to the earth, as in the Vitruvian Man. In The Last Supper, Leonardo has compared the ideal human to the observable star path of the sun, on earth as in heaven, as the Lord’s Prayer puts it. His method is the same as the ancient myths seen in the stories of the star groups, updated for Christianity.
Quote:
[The Vitruvian Man] represents a cornerstone of Leonardo's attempts to relate man to nature. Encyclopaedia Britannica online states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe."

In view of the heretical charges levelled against claims of association between Jesus Christ and the Sun, it is hardly surprising that Leonardo did not explain his source or motive for his hidden code in The Last Supper. What is extremely surprising is that this clear pattern, the real Da Vinci Code, has been sitting in front of people for five hundred years but we have been unable to see it. Reasons for this blindness include the hostility of the church towards science, and the association between the zodiac stars and astrology. These have apparently been enough to ensure that no one has imagined this way of looking at the painting as a real natural code. What greater illustration could we find of the power of supernatural dogma to blind people to simple observation!

Studied in detail, this stellar explanation is compelling. The deep message of this finding is that a hidden natural religion has coursed through human life, seen by geniuses like Leonardo but invisible to others. The natural religion inspiring The Last Supper understands the true connection between humanity and the cosmos. Leonardo is saying that the story of Jesus Christ is primarily an allegory for the Sun, our real source of light and life.


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