Divine Colors Conclusion: Echoes of the Past

Burst of Blue

“Burst of Blue” by Midnight Fractals at DeviantArt


Apr 27, 2016

Additional reflections of the divine colors in new words, body painting, tattooing, daubing the dead, etc.

The celestial antics of what man began to think of as his god gripped him in a vice the hold of which continues to constrict him to the present day. In ways that often verged on the bizarre, man sought to re-enact what he, or his ancestors, had lived through. And although he remembered quite correctly, certain quandaries more than once resulted in deficient preservation. But even while, in time, such issues were corrected, certain others were by then much too ingrained to overcome long-held mistaken concepts. This was especially true when such erroneous notions were embraced by man’s evolving cults, in which whatever happened to be misconstrued often turned into religious dogma.

One such problem involved the creation of new words in order to express novel experiences. As already noted, one of these innovative concepts had to do with color. The description of proto-Saturn’s realm before a word for “purple” had been coined in certain languages resulted in blue-black or simply black as having been the concerned color. This is the reason we continue to run headlong into the designation of the planetary god in question as the black Saturn. Needless to say, it also accounts for the association of such items as black curtains and black stones with the Saturnian deity, some of which persist right to this day in the Meccan Ka’aba.

One of the means to keep these memories alive led certain tribes to paint their bodies blue. Among them were the Berbers and the ancient Britons.1 Among the latter were the least known members of the Celtic tribes who infiltrated into Britain from mainland Europe. The Romans, with whom they clashed, called them Picti, which means “the painted ones,” because of their blue-dyed skins. The English word “picture” and its various derivations is derived from the same Latin root. The dye with which the Picts painted themselves was produced from the plant Isatis tinctoria, popularly known as woad, which was once extensively cultivated in various parts of Great Britain. As Julius Ceasar himself noted: “All the Britons dye their bodies with woad, which produces a blue color and gives them a wild appearance in battle.”2 The famous Celtic queen Boudicca, so beloved of the British, also known as Boadicea, was also said to have smeared herself with woad in her ravaging engagements against the Roman armies.3 The Scots, with whom they eventually united, still refer to the ancient Picts as Blueskins.4 Whether they actually painted themselves blue or not, tribes akin to that of Genghis Khan referred to themselves as the Blue Mongols.5 As with other matters, it is now difficult to ascertain whether this custom came about because the human epidermis had looked blue while proto-Saturn’s ultraviolet light shone on the world, or whether it was because men wished to emulate proto-Saturn’s changed appearance.

There will be those who will claim that body painting antedates proto-Saturn’s postulated flare-up by several thousand years. The evidence for this rests on the discovery of red ochre in various ancient sites, such as the 92,000-year-old Qafzeh Cave in Israel.6 Red ochre, which is a mixture of clay and iron oxide in the form of hematite, is believed to have been used by ancient man to dye the bodies of his dead kin in order to lend them a life-like appearance. These finds, however, have been dismissed by critics because of the uncertain dates attached to them as well as their intended use. After all, as has been pointed out, ochre supported various other utilizations.7 It was definitely used to paint animals on the walls of European caves,8 to polish bone implements in South Africa,9 while blocks of the material from that same site have been turned into works of art by being aesthetically decorated with incised designs.10 But even if body painting with red ochre was in vogue that long ago, it has nothing to do with the blue dyes that came in use later in time. Even when it came to daubing the bodies of the dead, the much later Chinchorro of the Chilean Andes painted the mummified remains of their departed children with “shimmering blue-black paint”.11

Others will be fast in pointing out that not all Picts are known to have covered their bodies, or parts thereof, with woad, but only tattooed themselves with the blue dye.12 The Berbers definitely tattooed themselves, and they continued to do so down into modern times. As we shall be showing in a forthcoming sequel, the tattooing of bodies in blue or black designs also originated in imitation of what our ancestors saw their proto-Saturnian deity undergo.

Long after the events in question, the Egyptian alchemists of Alexandria managed to produce a violet type of gold, which to us would be inferior, but which they deemed the very best. It was not merely looked upon as an extremely precious metal, but as a spiritually imbued substance.13 These alchemists hailed from the temple of Amon, the “hidden” Saturnian god, where alchemy was said to have been born. Whether the “spirit” that was thought to permeate this violet gold was held to be Amon’s remains an open question.

An odd religious rite that was practiced by the Maya leaves no doubt concerning its association with a Saturnian deity, the previously mentioned god Itzamna. According to them it was this god who presented them with the gift of writing.14 Thus, every year, in the month they called Uo, they commemorated a festival during which the priests would bring out their folded codices and spread them out on freshly-cut boughs “in the house of the local lord.” Sacred incense would then be burned to Itzamna and the wooden boards between which the codices were folded would be anointed with a concoction made from “virgin water” and an indigo pigment which is now known as Maya blue.15

Not everything blue or purple had a favorable connotation in world religions. In Japanese Buddhist wedding ceremonies, for example, neither bride nor bridegroom was allowed to wear garments containing any trace of purple for it was said that the marriage of those who do would speedily come to an end. This superstition was supposedly based on the belief that purple dyes have a tendency to fade.16 Since Japanese dyes are well known for their durability, it is more likely that the custom originated due to the fact that proto-Saturn’s ultraviolet period did not last. As the Hopi well remembered, the purple glow eventually relinquished its hold on Earth when, during “the third phase of the dawn of Creation,” the light returned to red.17 It did not, however, transpire all that fast.

Extracted from Chapter 12 of Metamorphic Star, one of the reconstruction books by Dwardu Cardona.


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