■1010 CE
Double-Headed Eagle in India
In the Brihadeeswarar Temple, completed in 1010 CE, a depiction of a double-headed eagle, a common symbol, can be seen. The temple itself is also pyramid-shaped.
In the Rameshwaram Temple, it is represented through sculptures.
Shahnameh, the Epic of Iran
In 1010 CE, the Shahnameh, the greatest epic of Iran, was compiled. It features King Zahhak, who has two snakes growing from his shoulders.
Additionally, the hero Feridun, as a baby, was taken by his mother to Mount Elburz to escape the tyranny of King Zahhak. His mother entrusted Feridun to a cowherd. This story bears similarities to other mythologies.
■1017 CE
Ancient Ruins of Polonnaruwa in Sri Lanka
In Polonnaruwa, we can find examples of polygonal masonry and lion statues.
■1053 CE
Byodo-in Temple in Kyoto
At the Byodo-in Phoenix Hall, the golden ratio is observed.
The entrance of the main hall in the Phoenix Hall exhibits the golden ratio.
The whirl patterns of the golden ratio are depicted on the statue of Amida Nyorai in the Phoenix Hall, along with the halo.
The surrounding walls of the statue of Amida Nyorai in the Phoenix Hall are adorned with 52 cloud-shaped bodhisattva statues, displaying whirl patterns in the golden ratio.
■Around 1100 CE
Angkor Wat in Cambodia
Angkor Wat exhibits polygonal masonry, lion statues, and the golden ratio.
Lion statue.
Ainu People of Hokkaido, Japan
The transition from Satsumon culture to Ainu culture begins. It started around the 10th century along the Japan Sea coast of Hokkaido and spread throughout the entire region by the 13th century. The majority of the Ainu people carry the Y-chromosome haplogroup D1a2a, which originated around 40,000 years ago.
The following passage is a legend about the creation of heaven and earth among the Ainu people of southern Hokkaido:
"In ancient times, when there was neither country nor land in this world, something like floating oil emerged in the middle of the Blue Sea Plain. It gradually solidified and became like flames rising, as if a fire was blazing, and it turned into the sky. The remaining turbid substance gradually solidified and became an island (Hokkaido). Over time, the island gradually grew and solidified, and within it, a god (Kamuy) was born from the gathered hazy air. On the other hand, a god was born from the pure and bright air that rose high like flames, and that god descended to the earth riding on five-colored clouds. From there, many gods, plants, birds, animals, fish, insects, and humans were created."
In this creation myth, the concept of "nothingness" is expressed as the state of there being nothing. The god Kamuy also represents emptiness.
Kamui, the Deity of the Ainu People
The Kamui-no-Mi is a ritual of the Ainu people, which means "praying to the gods" and involves sending the divine Kamui (emptiness) back to the heavenly realm. For example, in gratitude to the Kamui who brought game animals as gifts to the human realm, such as meat and fur, they send them back to the land of the gods.
Kamui refers to highly spiritual beings that are believed to reside in animals, plants, natural phenomena, and man-made objects. For instance, there is the Ape-Fuchi-Kamui, the Kamui dwelling in fire; Kimun-Kamui, who comes to the human world in the form of a brown bear's garment; Payoka-Kamui, the deity responsible for causing fevers; Wen-Kamui, the deity that brings calamities upon humans; Pirika-Kamui, the deity that bestows blessings upon humans; and Kamui Kotan, which represents treacherous terrains. The trees used for building dwellings and log boats are referred to as Shiranpaka-Mui (tree Kamui). This concept of Kamui dwelling in all things is similar to the Shinto belief in "Yaoyorozu no Kami" (eight million gods).
■1121 CE
Jameh Mosque in Iran
The central courtyard of Jameh Mosque has dimensions that follow the golden ratio. The width of the central pathway also adheres to the golden ratio.
The Iwan structures also have proportions based on the golden ratio.
The symbol of Islam, the crescent moon, is also present.
■Around 1200 CE
Katsuren Castle in Okinawa, Japan
Katsuren Castle features polygonal masonry.
The Kingdom of Cusco in South America
The Kingdom of Cusco was inherited from the Inca Empire. According to Inca mythology, the creator god Viracocha was associated with emptiness. Here, we can observe polygonal masonry.
On Loreto Street in Cusco, Peru,
The stone masonry is tightly fitted without any gaps.
■1202 CE
Shin-Ōbutsuji Temple in Mie Prefecture, Japan
Shin-Ōbutsuji Temple in Mie Prefecture features polygonal masonry and swirling patterns based on the golden ratio.
The body of the Great Buddha was reconstructed during the Edo period, while the head is believed to be the work of the sculptor Kaikei.
The stone pedestal of the Great Buddha, dating back to the time of its creation, exhibits polygonal masonry with incised joints.
The Fudō deity standing in the cave behind the Great Buddha Hall is positioned within a hollowed-out rock.
The facial head of the enshrined Fudō deity at Shin-Ōbutsuji Temple features swirling patterns based on the golden ratio.
It is said that Shin-Ōbutsuji Temple was founded by Chōgen, a monk known for his involvement in the reconstruction of the Great Buddha and the Great Buddha Hall at Tōdai-ji Temple during the Kamakura period.
■Around 1215 CE
Geghard Monastery in the Republic of Armenia
The Geghard Monastery features polygonal masonry.
The arches of the monastery's entrance also exhibit polygonal masonry.
Numerous crosses are carved throughout the monastery.
Carvings of the Flower of Life, a common symbol found alongside Tanit, can also be seen, along with crosses.
■Around 1300 CE
The Forbidden City in China
The Forbidden City, the former imperial palace from the Ming dynasty in 1368 CE to the Qing dynasty in 1912 CE.
The buildings and bridges within the Forbidden City are arranged in alignment with the position of two golden ratios, both vertically and horizontally.
Polygonal masonry can also be observed.
The walls of the staircases and the swirl patterns on the handrails exhibit the golden ratio.
The lion statues on both sides of the Gate of Supreme Harmony also feature swirling patterns in their hair, following the golden ratio.
The lion statues in the Forbidden City grasp a spherical object with their front paws, representing the cosmic egg symbolizing emptiness.
This spherical pattern resembles the Flower of Life pattern, which can also be found in the 645 BCE Ashurbanipal Temple in Iraq and the Osiris Temple in Egypt.
Golden ratio swirl patterns can also be found on the sculptures of turtles and other buildings within the Forbidden City.
Dragons in Chinese Mythology
In Chinese mythology, countless dragons exist. Dragons can also be found in the creation myth of the Bai ethnic group in China, leading to the conclusion of a common symbol. The dragon of the emperor, Huangdi, is called the Yinglong. Yinglong possesses the ability to store water and bring rain.
According to the short story collection "Tales of strange matters" in Chinese literature, it is mentioned that "a viper nurtured in muddy water becomes a mizuchi (rain dragon) after five hundred years, the mizuchi becomes a dragon after one thousand years, the dragon becomes a horned dragon after five hundred years, the horned dragon becomes an Yinglong after one thousand years, and an aged Yinglong is called the Huanglong (yellow dragon)." In other words, the Huanglong and Yinglong are the same entity.
The Huanglong was regarded as a symbol of imperial authority but was later replaced or identified with the qilin. Two qilin statues are placed in front of the Cining Gate of the Forbidden City. The fact that two qilin statues, identified with the Huanglong, are standing in front of the Cining Gate signifies the presence of two common symbols, similar to the two lion statues, komainu, found in Japanese Shinto shrines.
Dragon in Gagaku Music
In the costumes of the "Ryo-o" piece in Gagaku music, there are circular dragon embroideries on the chest and waist. This indicates that Gagaku also represents emptiness.
Dance mask, Ranryo-o, from the Kamakura period in the 1300s, handed down by the Tennosha Shrine on Mount Kouya.
■Around 1400 CE
Voodoo, Macumba, Candomblé, Santeria
Voodoo, also known as black magic, is a religion that worships the Rainbow Serpent, similar to the Aboriginal Rainbow Snake in Australia. It is practiced in countries such as Benin in West Africa, Haiti in the Caribbean, and New Orleans in the southern United States.
In Haitian Voodoo, the supreme deity is the serpent god Damballa Wedo, and his wife is the Rainbow Serpent goddess Ayida Wedo. These two gods are often depicted as two intertwined snakes.
The symbols of Damballa Wedo and Ayida Wedo in Voodoo. The symbol on the right is the Caduceus, the staff of Hermes.
Voodoo flag.
During a period of about 400 years, starting from the 1400s, approximately 15 million Africans were brought to Europe, North and South America, and the Caribbean islands through the transatlantic slave trade. Along with the people, their Voodoo beliefs were also brought and developed independently in Haiti. Voodoo also took root in New Orleans, and in Brazil, it evolved into Macumba and Candomblé, while in Cuba and Venezuela, it became Santeria.
Voodoo involves rituals where offerings of animal carcasses, blood, and alcohol are made in exchange for granting desires from the spirits or demons. Curse rituals are also performed.
Offerings in Brazilian Macumba (left) and rituals in Venezuelan Santeria (right).
Voodoo market in Togo, Republic of Africa.
Machu Picchu
Machu Picchu is an Inca archaeological site located at an altitude of 2,430 meters.
The image on the left shows the location of Machu Picchu, while the image on the right shows the extent of the Inca Empire (1438 CE - 1527 CE).
Polygonal masonry can be observed here as well.
There are also carved rocks with arrow holes for driving wedges to split the stones.
The flag of the Inca Empire features two snakes, a rainbow, and a weight.
Ollantaytambo Ruins in Peru
Polygonal masonry at the Ollantaytambo Ruins in Peru.
■1428 CE
Aztecs of Mexico
The Aztec god Quetzalcoatl is a deity associated with agriculture, provider of maize, symbol of death and resurrection, god of wind, Venus, and the morning star. He is said to have been born from the virgin mother Chimalman. The following image shows the golden ratio spiral pattern of Quetzalcoatl.
The god Tonatiuh is a sun deity depicted with a winged disc in his hand and adorned with eagle feathers. Thus, common symbols can be observed in Aztec mythology as well.
In the creation myth of the Aztecs, two snake symbols can also be found.
When Quetzalcoatl and Tezcatlipoca descended from the sky, they saw the creature Tlaltecuhtli emerging from the sea. The monster, with a voracious appetite, exposed its fangs through its large mouth, and its elbows, knees, and various parts of its body transformed into mouths, constantly grinding its teeth. Quetzalcoatl and Tezcatlipoca realized that with such a savage beast, they would not be able to complete the creation of the universe. Therefore, the two gods transformed into two enormous serpents. One serpent held Tlaltecuhtli's left hand and right foot, while the other serpent restrained its right hand and left foot. Together, they pulled and tore the monster into two halves. The upper half of Tlaltecuhtli became the earth, and the discarded lower half formed the sky.
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References
"Azteca Maya no Shinwa" by Carl Taube
"Tsuki no Usagi" (Moon Rabbit)
The Moon Rabbit
In the ancient Indian Buddhist Jataka tales, specifically in the 316th story, it is said that one of the past lives of Siddhartha Gautama, also known as Shakyamuni Buddha, was that of a rabbit. This story made its way to Japan and became the tale of the Moon Rabbit. Similar stories can also be found in Aztec mythology.
Once upon a time, Siddhartha Gautama was born as a rabbit and lived in a certain forest. This rabbit had three friends: a monkey, a jackal, and an otter. These four intelligent creatures lived together, each procuring food in their respective hunting grounds and gathering together in the evening. The wise rabbit imparted truths to his three companions, teaching them the importance of giving alms, observing moral precepts, and honoring sacred days. They accepted these teachings and went to live in their respective places within the forest.
One day, the rabbit observed the sky, looked at the moon, and realized that the next day was a day of fasting. He told his three companions, "Tomorrow is a day of fasting. If you uphold the precepts and honor the sacred day, there will be great rewards. If a beggar comes to your doorstep, give them food from your own table." They gladly agreed and spent the day in their homes.
The following day, the otter found buried fish by the banks of the Ganges River and brought it back. The jackal found two skewers, a lizard, and a pot of milk in a farmer's hut and carried them home. The monkey brought back mangoes from the forest. Meanwhile, the rabbit contemplated that if someone were to come seeking alms, he would offer his own flesh.
Emperor Indra, who knew the rabbit's intention, decided to test the rabbit and took the form of a Brahmin priest. He went first to the otter's house and asked for alms. Similarly, he visited the jackal and the monkey, and they all gladly offered him food.
Finally, the Brahmin went to the rabbit's dwelling. The rabbit requested the Brahmin to start a fire, and he explained that he would jump into it so that his burnt flesh could be consumed, allowing the priest to fulfill his duty. The rabbit then leaped into a miraculous fire created by the Brahmin. Surprisingly, the fire could not burn the rabbit's body. Puzzled, the rabbit asked the Brahmin about this phenomenon, and the Brahmin replied, "I am not a Brahmin. I am Indra, the emperor. I came to test your virtue. Wise rabbit, let everyone know of your virtues." Thus, using the extract obtained from squeezing a mountain, Siddhartha Gautama drew an image of the rabbit on the surface of the moon.
The Tang Dynasty, which spanned from 618 CE to 907 CE in China, also had stories about the moon rabbit, along with the presence of frogs in the moon. The following image is a Tang Dynasty bronze mirror called "Moon Rabbit and Twin Magpies with Eight Floral Patterns" ("Getto sōjaku hakkakyō").
In China, the frog is considered a lunar spirit. The "Records of Searching for the Divine" (Sōushénjì), a novel collection from 3rd-century China, contains a story about frogs residing on the moon.
"The Lunar Spirit"
Yi, a skilled archer, received an elixir of immortality from the Queen Mother of the West. However, his wife Chang'e stole it and fled to the moon. When Chang'e was about to escape, she asked You Huang, a diviner, to determine the fortune and misfortune. You Huang used divination rods, similar to 50 bamboo sticks, and counted, "Fortune! The light-hearted younger sister alone embarks on a journey to the western regions. Even if the sky turns completely dark along the way, she must not fear or be startled. In time, she will flourish greatly." And so, Chang'e sought refuge on the moon. This is the story of the moon frog.
In the 622 CE embroidered relic called the "Heavenly Life Mandala Embroidery" (Tenjukoku Mandara Shūchō) located at Nakagūji Temple in Nara Prefecture, a moon rabbit can be seen in the upper left corner.
In the Aztec civilization, which thrived in central Mexico from around 1428 CE to 1521 CE, the rabbit was also associated with the hunting god, Mictlantecuhtli. The following image is a depiction of the moon rabbit in Aztec culture during the 1500s, from a handwritten manuscript known as the "Florentine Codex" from the colonial era after the Spanish conquest.
In the Jataka tales of India, it is said that a rabbit jumped into the fire and eventually became depicted on the moon. A similar story can be found among the Aztecs. The following passage is a summary of a story based on the Florentine Codex and the legend of the sun.
"The Creation of the Fifth Sun"
After creating the Earth, humans, and food and drink, the gods gathered in Teotihuacan and discussed who should become the next sun to illuminate the world. A proud god named Texistecatl stepped forward, while the other gods chose a humble god named Nanahuatzin, who was afflicted with a disease, as the other candidate.
Preparations were made with firewood for the offering, and two hills were created where Texistecatl and Nanahuatzin would undergo fasting and penance. These two hills are now known as the Pyramids of the Sun and Moon.
After four days of penance, when midnight came, the gods dressed Texistecatl and Nanahuatzin and surrounded them with fire. The fire, burning continuously for four days, had become intensely hot. The gods stood on either side of the fire and called Texistecatl to jump into the flames. Upon hearing this, Texistecatl ran toward the fire but suddenly froze in front of the raging flames. He tried again but experienced the same fear that made his legs weak. He tried four times, but each time he faced the same outcome. Eventually, the gods called for Nanahuatzin. Without hesitation, he swiftly ran and jumped into the fire. He felt no fear, never hesitated, never looked back, and in an instant, he was consumed by the flames. Nanahuatzin met his brave end.
Witnessing the courageous sacrifice of Nanahuatzin, Texistecatl finally made up his mind. He threw himself into the fire and died by burning.
Thus, after Nanahuatzin and Texistecatl had been burned to death, the gods patiently awaited their reappearance. They gazed toward the east, where Nanahuatzin manifested himself. He was no longer the frail, miserable figure from before. Nanahuatzin rose as the sun god Tonatiuh, radiating sunlight in all directions. The sun that appeared was blazing red, blindingly bright, and no one could directly look at his face.
Immediately after, Texistecatl also ascended in the eastern sky and began to shine like Tonatiuh. The gods thought that the brilliance of the two was too similar, which might make the world too bright. Thus, a god came forward and threw a rabbit onto Texistecatl's face. As a result, the wounded moon's radiance weakened compared to the sun, and the rabbit's shape became visible in the full moon.
In southern Africa, among the Khoikhoi people, there is also a myth about the moon and the rabbit, although the story is different. The introduction of death into the world, like in many other African legends, is explained through a messenger myth. It is said that the moon entrusted a message to a wild rabbit, assuring humans that they would never die. However, when the confused rabbit mistakenly delivered the information that humans would not resurrect, the moon became furious and struck the rabbit's lips with a powerful blow.
If this spread extends not only to India, China, and Japan but also to Mexico, it would suggest that the Aztec civilization was influenced by religions originating from Asia.
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References:
- "Maya-Aztec Mythology Illustrated Encyclopedia" by Mary Miller
- "The Search for Gods" by Gan Bao
- "Aztec and Maya Mythology" by Karl Taube
- "Dictionary of World Mythology" by Arthur Cotter
■1429 CE
The Ryukyu Kingdom and Shuri Castle
Sho Hashi established the Ryukyu Kingdom and made Shuri Castle the royal residence.
The stone walls seen in Shuri Castle are restored, and polygonal masonry can be observed.
In the underwater pyramid complex off the coast of Chatan in Okinawa, there are two serpent stone statues measuring 20 meters in length.
Okinawa Stone Slabs and Hajichi
Stone slabs unearthed from Chatan Town in Okinawa Prefecture (Okinawa Prefectural Museum) also depict swirling patterns as symbols.
In Okinawa, there was a practice of tattooing called Hajichi until the mid-Meiji period, and swirling patterns and crosses can be found in them as well.
The Paiwan Tribe in Taiwan
In Taiwan, which is close to Okinawa, two snake symbols can also be found. The Paiwan tribe, residing in the southern part of Taiwan, accounts for 17.7% of Taiwan's indigenous population.
The Paiwan tribe operates under a hereditary aristocratic system consisting of three classes: nobles, semi-nobles, and commoners. The noble families hold the power, and their symbol is the hundred pace snake, known as "Hyappoda" in the Paiwan language. This snake is carved as a family crest on human figures, house entrances, pillars, and eaves, and it is also embroidered on clothing.
The creation myth of the Paiwan tribe revolves around the sun and the hundred pace snake. Although multiple versions of this story exist, the following is an example:
"In ancient times, the sun laid down a red and white egg on the summit of Mount Tsakapaukun and entrusted the protection of the eggs to the hundred pace snake, known as "Buron" in the Paiwan language. The hundred pace snake diligently took care of the eggs, which eventually hatched into two divine beings. The descendants of these two deities became the ancestors of the Paiwan nobles. The ancestors of the commoners hatched from a blue snake called "Lirai." The presence of numerous snake motifs in Paiwan tribal attire and artistic carvings is precisely because of this myth." (Summary from "Taiwan's High Mountain Tribes" by Gao Yuan Yuan, published in February 1977)
The relief carvings on ceremonial pottery of the Paiwan tribe feature two raised carvings of swirling patterns depicting the hundred pace snake.
In the left wooden carving in the following image, two hundred pace snakes can be seen on the head, with both hands raised and palms facing outward. This is also a common symbolic pose found in Tanit and goddess statues. On the right wooden carving, the faces of ancestral figures are carved on top of the two hundred pace snakes. The bodies of these snakes are decorated with zigzag patterns and diamond shapes.
The image below shows Tanit, the pose with raised hands, and the cross symbol.
Furthermore, the swirling portion of the Paiwan tribe's needle polishing wooden carvings also displays zigzag patterns, and crosses can be seen at the upper tips. The central part of the togro carving features a sculpted face of an ancestral deity adorned with a triangular pattern.
■1653 CE
Taj Mahal in India
The Taj Mahal also exhibits the golden ratio, swirling motifs, and polygonal masonry.
The main grounds of the Taj Mahal are constructed in proportions based on three golden ratios, and the buildings and pathways follow the ratios of the golden ratio.
In the portrait of Mumtaz Mahal (1595-1631), the Empress and wife of Shah Jahan, the 5th emperor of the Mughal Empire, swirling motifs based on the golden ratio can be observed.
In the painting of Shah Jahan, the husband of Empress Mumtaz Mahal and the 5th ruler of the Mughal Empire, a halo is depicted.
■Summary
By examining the symbols, their time periods, and locations, we can see that religions and beliefs originated from a single source and developed independently in various regions. Almost every ethnic group, including those in Africa, Asia, North and South America, and Australia, possesses similar creation myths, suggesting that they already had a common foundational mythology upon their arrival in those lands. Even if some myths spread later, it is unlikely that they would be universally adopted in the same way worldwide. However, there have been instances where newly created myths or symbols spread partially.
From this perspective, there are two paths of religious development. At the point of the Out of Africa migration, several common symbols had already emerged, leading to a flow towards Australia from Iran around 50,000 BCE and another flow towards Europe, East Asia, and the Americas after 40,000 BCE.
When classifying the common symbols, we find that the common symbol group A had already formed in Africa and spread throughout the world. Over time, new symbols and myths emerged in different regions and intermingled to evolve.
Around 70,000 BCE, during the Out of Africa migration:
- The following are common symbols of group A:
- Two snakes, rainbow serpent (found in Benin, etc.)
- Creation myths of the universe (found in the Maasai tribe, etc.)
- Cosmic egg (found in the Dogon tribe, etc.)
- Flood myths (found in the Mbuti tribe, etc.)
- Stories of creating humans from clay (found in the Mbuti tribe, etc.)
- Creation myths of heaven and earth (found in the Abaluya people of Kenya, etc.)
- Adam and Eve (found among the Ashanti people in West Africa)
- Sumo wrestling or wrestling (e.g., Douala sumo in Cameroon)
- Dolmens (found in Algeria)
- Animism, the belief that spirits or gods reside in everything
- Tree worship
Around 50,000 BCE, towards Australia:
- Common symbols of group A
Around 40,000 BCE, towards Japan:
- Creation myths of the universe
- Animism
- Tree worship
- Goddess figurines
After 20,000 BCE, towards Europe, East Asia, and the Americas:
- Various symbols (such as swirling motifs, zigzag patterns, snake-like lines, crescent moon-shaped arcs, ladders, handprints) in European cave paintings around 20,000 BCE
- Creation myths of the universe
- Animism
- Tree worship
- Goddess figurines
- Sumo wrestling or wrestling
Around 10,000 BCE, Göbekli Tepe in Turkey:
- Various symbols (two snakes, golden ratio spirals, T-shape, H-shape, handbag, eagle, scorpion, wild boar, lizard, etc.).
Around 5000 BCE and onwards, to Egypt, Europe, East Asia, and North and South America:
- Common symbols of group A:
- Various symbols (golden ratio spirals, T-shape, H-shape, handbag, wild boar, dragon, tiger, winged disc, etc.).
- Architecture utilizing the golden ratio.
- Polygonal masonry.
- Pyramids.
- Myth of a deity being placed in a river during infancy.
- Lion statues.
- Story of the moon and rabbit.
At the point of the Out-of-Africa migration around 70,000 BCE, there were already spiritual concepts such as cosmogonies and animism, indicating the presence of enlightened individuals akin to those in Buddhism. As observed throughout, all religions, beliefs, and shamanism share a common origin, spreading from the Out-of-Africa migration. They have intermingled in various regions, evolving into unique names and narratives. Furthermore, the gods of all religions symbolize "consciousness," which also encompasses human consciousness.
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