The Venus Blueprint

by Richard Merrick

  This symbolic color analysis offers even more evidence that the Rig-Veda and all religions afterward were founded on harmonic theory. More important, the symbolic use of gold, purple, and indigo as divine colors throughout history indicates a continuation of this ancient tone-color model over an extraordinarily long time. For this to happen it must have been well preserved and protected by the priestly class. Even today one can find purple used in the robes of the Pope and occasionally emblazoned as the purple Phoenix on Catholic altar cloths.

  We might now recognize a similar symbolic connection between the Phoenix and Rosslyn chapel. Since the purple Shekinah aligns with the Harmonic Center of the Venus Blueprint, the color symbolisms of feminine purple and masculine indigo are joined in congress in Rosslyn’s floor plan. This would have been used to symbolize the fertilization of Meru, portraying the Phoenix egg itself in the Blueprint design. In doing so the Sinclairs would have been symbolically resurrecting their barons by invoking the purple Phoenix of Venus as she rises from the burning mound of M’R.

  Navel of the World

  As we discovered in the Vitruvian geometry surrounding Rosslyn, the Harmonic Center of the Venus Blueprint also corresponds to the geometric center and navel of the human body. This idea of a geometric center and axis of origin was historically associated with fertility and the godhead in ancient religions. In particular Jerusalem and Mecca were (and still are) considered navels and sacred origination points in the Old World. In the New World it is Cuzco, Peru, that many believe to be the navel of the world.

  Originally introduced by the Killke tribe in Peru, it was the Incans who formalized the idea that Cuzco was the navel. In fact the name Cuzco literally translates as “navel,” though it is usually associated with the circular solar plexus located slightly above the navel in the human body.

  As Sun worshipers the Incans built a linear arrangement of sacred shrines around the central Sun Temple in Cuzco to mimic the solar plexus center of the body. Doing this they were simultaneously identifying the Sun as the Harmonic Center of the sky as well as the human body. Indeed their entire society was centered in this way, uniting their people with the natural world.

  Traveling with a small group to Cuzco in 1998, my group’s organizer arranged for a local Incan shaman to show us around. His name was Kuichi Light, which in the local Quecha language means “rainbow light.” As he guided us through the town, he explained the various ceremonial activities of his ancestors and had us join him from time to time to reenact tribal chants or rituals.

  During our tour he took us to the Temple of Coricancha that once served as the center for the radial organization of buildings he called the Sundial or Eye of the Jaguar. In the center of this building was a large disk mounted into the floor that Kuichi said was the actual physical navel of Cuzco and the whole Earth.

  With no one else around, Kuichi had us join hands around the disk and chant according to his instructions. None of us knew what we were saying and felt a bit awkward doing so, but it had the very real effect of deepening the experience and instilling a sense of happiness. In paying homage to the navel of the world, I could not help but think I was standing at the center of the New Jerusalem—the forgotten Merusalem of Peru.

  Traveling the next day to a mountainside overlooking the city, we walked through the sacred Killke site known as Sacsayhuamán, pronounced “sexy woman.” Built with huge boulders fit perfectly together much like the stones in the Giza pyramids, archeologists believe the giant structure was intended as a temple to their serpent-lightning god.

  According to some Andean guides, the Incans used this site for solar brother initiations, summoning the Sun’s lightning to transform an initiate into a “wise serpent.” In fact lightning storms do occur quite frequently in the region of Sacahuma around the summer solstice, a day traditionally used for Incan initiations.

  Some theorize that the goal of the lightning ceremony was to awaken the inner serpent, paralleling the kundalini and uraeus symbolisms in the Old World. If true it could represent a link to the Vedic association between lightning and entheogenic Soma. Amanita muscaria mushrooms, which some believe were used to make Soma, tend to grow the morning after a heavy storm or lightening strike.

  In the Corichanda temple where such ceremonies were typically held, the walls and floors were once covered with gold, perhaps to symbolize the summit of the sacred mountain. As an expression of Vedic harmonic science brought into Peru, Corichanda would have represented the Harmonic Center of Meru, a sacred space where initiates drank from the Sun disc to become wise serpents and ascend the sacred mountain of Peru. For these people the sacred mountain might have been an actual mountaintop religious retreat known as the Lost City of the Incas.

  The Lost City is, of course, the famous Machu Picchu. Traveling there by train, we continued our explorations and rituals with Kuichi. We drank the sacred spring water and tossed rocks through stone hoops to gain entrance to new sections of the city. Ascending step by step through the city up to the Temple of the Sun, we finally reached the Intiwatana or large granite sundial. There we took turns laying spread eagle on the round rock like the Vitruvian Man, or rather Peruvian Man.

  From this unique vantage point, the towering mountain of Huayna Picchu appeared directly beneath our feet ascending straight up into the sky. It seemed the location of Machu Picchu and its Temple of the Sun had been intentionally situated to bear witness to Huayna Picchu in this way, as if it were the actual Mount Meru.

  The next morning we ascended to the top of Huayna Picchu along a zigzagging staircase of large boulders. Having had a severe reaction just hours earlier from a yellow fever inoculation the week before, I was lagging far behind the others. From time to time Kuichi would return to check on me, urging me to go back to the hotel if I was too ill.

  But I pushed on, eventually reaching a point near the summit of the mountain. There I found a small cave entrance. Standing alone mulling over what to do next, Kuichi suddenly emerged from the dark cave, walking directly toward me smiling. Just the two of us, he took my head in both hands and looked me straight into the eyes, saying:

  My brother, you will walk into the womb of the mountain and be born into the sky. You must not be frightened for you will not be hurt. But you must leave your sickness in the cave. Do you believe in what I am telling you? You must believe in this, my brother, for it to work. Will you leave your sickness in the cave?

  Out of politeness and hope that pure belief could somehow cure me, I agreed. Following his direction, I walked toward the entrance of the cave. Stopping, I turned to ask Kuichi where I should go once I was inside. Again smiling but this time with serious eyes, he said only that I would know where to go. Trust was the name of the game.

  So in blind faith I entered the dark womb at the top of the mountain. As my eyes began to adjust, I could make out a narrow beam of light directly ahead shining down from above. Walking toward it, I found a shaft opening upward into an azure sky.

  But just as I was beginning to shimmy up the cramped shaft, a very loud and ominous chant reverberated in the chamber behind me, sending a chill up my spine. While I knew it must be Kuichi as an Incan medicine man chasing the sickness out of me, I could only visualize a madman wielding a machete about to sacrifice me to the sky gods. With no protection in a threatening situation, my fight or flight instinct kicked in. Scrambling upward with my last ounce of strength, several hands reached down to lift me to safety. Suddenly I was born into the sky.

  Surrounded by my party and others there on the summit, the crowd burst into applause to welcome the man who had endured yellow fever to climb to the top of the world. Strangers handed me saltines and water, leading me to the pride of place—a rock that jutted out over the gorge far below. Taking my seat over what was indeed a precarious drop, it was nonetheless a spectacular view overlooking all of Machu Picchu and the surrounding mountains.

  Feeling better now, I happily consumed my saltines and water as the mountain breeze cooled me
under a warm sun. Sitting there quietly enjoying my little snack, I wondered what could have motivated these people to build such a city on a mountaintop. Why was it so important to climb to the top and be symbolically born like that into the sky?

  As I came to understand it, Peru must have been the most remote colony of the early Vedic Empire. With Cuzco as the Harmonic Center and navel of Meru, Machu Picchu was its most distant and important temple where the sacred mountain of Huayna Picchu could be worshipped. There is simply no other explanation for the etymological similarity of Peru to Meru and the mountain name Machu Picchu to the near-identical holy mountains of Machapuchare in Nepal and Mount Mashu of Sumerian legend.44

  Here the new Indians built temples to the Sun, paying homage to the great mountain just like their distant cousins in Egypt, Mesopotamia, and India. Here the divine serpent flowed through the sacred plants into the people’s minds, lifting them high into the sky. Here was preserved the most distant memory of the Rig-Veda in a land called Amurru.

  Harmonic Pyramid

  As I was researching the Aryan migration out of Armenia, I happened on a website describing the discovery of several earthen pyramids near Visoka, Bosnia. There I found pictures of what appeared to be Vedic artifacts carbon dated at 10,000 years old, suggesting the presence of the Rig-Veda and harmonic theory in prehistoric Europe.

  According to archeologists, the largest pyramid is larger than the Great Pyramid of Giza with four perfectly shaped slopes oriented to the cardinal points. Named the Pyramid of the Sun after the pyramid of the same name in Teotihuacan, Mexico, it is terraced with a flat top and includes a paved entrance complex with underground tunnels. On top of the pyramid are the ruins of a medieval walled town, once the home of the Bosnian King Tvrko and his Kotromanic dynasty (1338–91).

  In addition to this pyramid, four other mountain structures were discovered, named the Pyramids of the Moon, Dragon, Love, and Temple of the Earth. Various artifacts have been found in the area, including a scattering of large stone spheres and a number of pentagonal or kite-shaped tombstones called stecaks. Not far away in Western Bulgaria and northern Macedonia, small pyramid votives have also been found, together painting the picture of an Old Europe heavily influenced by Vedic cosmology and pyramid-temple building (Fig. 32).

  FIGURE 32. Bosnian stecaks as harmonic symbols

  Some of the artifacts exhibit clear symbols of harmonic knowledge. For instance the stecaks are shaped like pentagonal prisms and have opposing spiral designs carved on both ends very similar to those used in ancient Greek jewelry design. At the same time, the sides of the votive pyramids are decorated with diagonal swastikas. Both suggest knowledge of the Fibonacci spiral and golden mean symbolized by Mount Meru.

  We can describe these artifacts as harmonic damping models. The pyramids represent the damping action of the Fibonacci series, and the pentagram represents the deadening effect of the golden mean. Just like the symbolisms used throughout the Vedic Empire, the spirals and pentagonal tombstones could have been intended to symbolize death.

  But there is another side to this harmonic symbolism that might also have been intended in the votive pyramids. The golden mean constant of nature also brings order to vibration by preventing over resonance. This is a very important feature of nature as it enables the cooling of hot plasma into stable atoms and star systems. Without this natural damping effect, atoms could not bond and life would not have emerged. In this context the swastika spirals on the votive pyramids may have been intended to represent resurrection and eternal life.

  In both instances ancient Bosnians would have been expressing their belief about death based on an understanding of harmonic theory. They could have gathered this from careful astronomical observations of Venus; simple cymatic experiments; and observation of organic geometries, such as flowers, fruit, and mammalian anatomy. The artifacts suggest these people were well aware of the importance of pentagonal geometry and spirals as a counterbalance to wave resonance.

  The Bosnian pyramids and surrounding artifacts are evidence that Europe too was steeped in Vedic cosmology and that a harmonic science was present there prior to the founding of Sumer. From their extreme age, we know the Bosnians must have been among the very first to believe in a transcendental mountain. They may have also been among the first to use pyramids to help induce altered states of consciousness.

  Recently several teams of scientists found that the Pyramid of the Sun actually emits a 28 kilohertz electromagnetic beam vertically from its summit. Using special instruments, they found that it somehow acts as a natural capacitor to collect and store electrostatic energy out of the atmosphere, emitting it from the tip.

  In researching this further, I found that the specific frequency of 28 kilohertz happens to be a harmonic of the Schumann resonance in the Earth’s ionosphere. In particular this specific frequency has been found in other studies to cause a high incidence of heart attacks and epileptic seizures in human beings. It is also very close to the eighth octave above 110 hertz—the very frequency used in the Maltese Hypogeum to trigger a shift in consciousness.

  Here again we find evidence that the pyramidal geometry inside the Venus Blueprint has real and measurable physiological effects on the human body and psyche. The only question is whether these ancient pyramid builders were aware of this effect on human beings. Did they use this emission to some purpose? We can only speculate.

  Known in esoteric tradition as the GoldenEye, meaning Oracabessa or “golden head,” pyramids have long been thought to store energy and emit it from their tips. Small ones are even used to sharpen razor blades and preserve organic material. Throughout human history the GoldenEye of the pyramid has represented enlightenment, divinity, and the Sun. Here we find the GoldenEye related to the interaction of pyramidal geometry with the structure of space itself, collecting electricity from lightning storms and emitting it as a psychoactive frequency.

  Perhaps we should reevaluate our understanding of the purpose of these pyramids and Blueprint temples. Could the pyramids in Bosnia, Egypt, and around the world have been used to alter human consciousness, say during entheogenic rituals? Might the ability of a pyramid to act as an electrostatic capacitor have some effect on people inside the structure or, in special solar-serpent ceremonies, flowing through a person positioned at the tip or Oracabessa? Could this electromagnetic emission have been the real purpose behind the Blueprint design?

  As perhaps the most sacred meaning of Meru and the Venus Blueprint, the pyramid inside the Blueprint egg may indeed act as a natural resonator for acoustical and electromagnetic waves that affect the mind. Knowing this, Vedic priests could have used their temples as technological instruments of enlightenment to supercharge the effect of entheogens in an effort to propel one’s consciousness into the sky.

  Resurrecting the Sun

  The missing link between celestial fertility and spiritual resurrection can be found in the Egyptian Ankh. Understanding its role in Vedic cosmology is to understand the true purpose of entheogens in ancient religion (Fig. 33).

  FIGURE 33. Components of the Egyptian Ankh

  To begin the Ankh has a lower male tower called the “Djed,” which has four horizontal crossbars topped with a Tau Cross and female loop called a “Ru” (Fig. 33A). When the two are connected into a single vertical staff (Fig. 33B), they form a five-tier tower or axis of Meru. The Ru loop at the top symbolizes the door, gate, mouth, and place of outlet from which all life is born. Like a key the male Djed is inserted into the Ru to fertilize it and make it potent.

  The earliest shape of the Ankh cross was a simple loop. While some speculate this represented Polaris in the north or simply the female vulva, it can be interpreted within Vedic cosmology as the five retrograde loops Venus makes during its eight-year orbital cycle with Earth (see again Fig. 1). This seems likely since this loop in the sky occurs right between the horns of Taurus just prior to a Venus transit of the Sun. At this time Venus quite literally traces a Ru loop inside the Ta
u Cross of the bull’s horns (Fig. 34).

  FIGURE 34. Loop of Venus on the Tau Cross prior to solar transit

  The construction of the sky Ankh might then go something like this. As the masculine Sun is about to rise, he is lassoed by the feminine “Tau-Ru” (or Taurus) of Venus and “hung on the cross” of the bull’s horns. The staff of the Ankh then becomes a Shepherd’s crook to pull the Sun up into the sky from the underworld. In this way the Morning Star of Venus would be resurrecting the Sun at dawn by lassoing it and pulling it over the top of Meru as if in a golden chariot or barge. This is entirely consistent with Egyptian cosmology.

  The same idea can be found in Babylonian cosmology as Ishtar’s son Tammuz being crucified on the Tau Cross or stauros (meaning “stake”). Even the Sanskrit name Rig-Veda, translates loosely as “harness Vena,” confirming Venus as the one responsible for resurrecting the Sun.

  In understanding the Ankh, we can also understand the deeper meaning of Rosslyn. Venus is the one who has the power to resurrect the Sun from the dead and give birth to his Son. She is the one true savior with the power to resurrect the Sinclair barons. In this way the Hebrew Asherah pole or Shekinah Pillar is none other than the Hebrew equivalent for the Egyptian Ankh. The Shekinah is not only the point of earthly fertility in Rosslyn, but also the point of enlightenment.

  Thus the Ankh is a Vedic symbol unifying celestial fertility and spiritual awakening. Later becoming the Rod of Asclepius, Staff of Moses, Staff of Hermes, and medical caduceus, the Ankh evolved to describe the health and balance of the solar serpent encircling the axis of the body. And as priests and kings came to use it as a “magic wand” or “scepter,” it became a symbol of divine royalty, magical power, and divine prophesy.