Interpreting The Symbolism Of The Nahal Mishmar Treasure Hoard

Through Ancient Egyptian Mythology And Energy Photography

by

Judith Mann

© 2016 All Rights Reserved

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 Acknowledgments

I would like to express my gratitude to Nenad M. Djurdjević and Julia Lincoln for their

contributions to this paper.

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 Introduction

The aim of this paper is to establish a significant connection between Ancient Egypt and the

Negev Desert (Canaan) during the Age of Copper, by exploring both the context and contents of

the Nahal Mishmar Treasure Hoard. Emphasis is placed on ancient Egyptian mythology in

describing the sacred objects found in the hoard along with their vibrational signatures revealed

through photographic energy scans.

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 The Nahal Mishmar Hoard From The Ein Gedi Temple Of The Negev Desert

In 1961, an extraordinary Chalcolithic treasure trove was discovered by the Israeli

archaeologist, Pessah Bar-Adon in a cave near the Dead Sea. Approximately fifty five hundred
years ago, four hundred forty two ritual objects were wrapped in a straw mat, hidden in a natural
crevice, then blocked by an immense boulder, most probably by priests from an ancient, pre-
1
Exodus temple at the oasis of Ein Gedi .

This paper postulates that the symbolic meaning of the Hoard can be found by looking to an
Egyptian connection with the Ghassulian culture of the Age of Copper, reinforced by energy scans
of the sacred objects.

_____
1. The Chalcolithic Hoard From Nahal Mishmar, Israel, In Context , R. S. Moorey, World Archaeology vol.
20, no. 2, Hoards And Hoarding (Oct., 1988), pp. 171-189, Taylor & Francis, Ltd.

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  Fig.: Negev Desert Map

 Fig.: Ein Gedi Temple Ruins. Cr. JIAA

During the Chalcolithic period, the Ein Gedi temple was the closest major ceremonial site to
Nahal Mishmar, seven miles away. Though the temple was discovered in what is now the country
of Israel, it was decidedly not a monotheistic proto-Hebrew sanctuary, but more likely dedicated
to a trio of Egyptian deities, leaning towards the feminine.

Indications set forth by Dr. A.J.M. Osgood, are that the Ein Gedi temple was a sacred
2
pilgrimage site for the Ghassulian culture. The Ghassul were a people who migrated from Egypt
to the Negev during the First Dynasty or earlier Pre-Dynastic times and erased by an invading
confederation of Mesopotamian kings in approximately 1,870 BCE.

 Fig.: Ein Gedi Sacred Basin. Cr. S. J. Schweig

Set in an isolated region overlooking the Dead

Sea, the Ein Gedi temple consisted of a large
mud-brick longhouse and gatehouse, its entrance
facing the Ein Gedi spring.

In the center of its enclosure a basin of stones

was set, out of which may have grown a tree,
sacred because of the singularity of its growing in
the desert. A fragment of a cylindrical alabaster
vessel was found near the basin, another pointer
supporting the Egyptian origins of the temple.

_____
2. Journal of Creation 2(1):77–87 April 1986 - http://creation.com/the-times-of-abraham

6
 Across from the gatehouse was the main rectangular structure, its brick exterior most likely
plastered, then painted with pink and dark blue waves. This probability is based upon the
evidence of a decorated stucco fragment found outside the temple wall line. Inside, a long narrow
room is entered through a doorway in the long wall.

On either side of the doorway were narrow stone benches. Opposite the
door, a semi circular altar was built of stones, in the center of which a
round stone pedestal might have supported a sacred object, such as a
trinity tower of 'crowns' from the Nahal Mishmar Hoard or a pottery idol.

 Fig.: Trinity Tower of Crowns

Though few pottery artifacts were found during the initial excavation of
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the temple, a cave containing a large cache of Chalcolithic pottery was
discovered by archeologist Roi Porath on the lower cliff beneath the Ein
Gedi spring in 2007. These artifacts included 200 cornets filled with
beeswax, with bees identified in Egyptian mythology as ' The Tears of Ra'.
The ritual functions of the wax may have included being carved into
magical amulets or sealing sacred vessels.

Ein Gedi's unique ceremonial objects seemed to have been hidden when the temple was under
threat by invading Mesopotamians. The cave, located in a steep ravine, is accessible only by ropes
and ladders, so it would have made a Trinity Tower of Crowns good hiding place. So good that this
amazing collection remained hidden for 5,500 years. Radiocarbon dating showed that they were
from the Chalcolithic or Copper Age, between 4,000 and 3,500 BCE.

The hoard contained 442 different objects: 429 of copper, six of hematite, one of stone, five of
hippopotamus ivory, and one of elephant ivory. Several objects show signs of repairs. In some,
attached decorations are missing, also a clear indication that many of the objects had been in use
4
for a long period of time before being concealed in the cave. Though David Ussishkin wrote that
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the ritual objects utilized at Ein Gedi “remained enigmatic ,” if we examine their symbolic
details in the context of ancient Egyptian cosmology, their meanings then come to light.

Many copper objects in the hoard were cast using the lost-wax process. This earliest known use
of this complex technique employed an arsenical copper, which is harder than pure copper, easily
cast.

_____
3. Porat et al. 2007, 28-29
4. The Chalcolithic Temple in Ein Ghedi Fifty Years After Its Discovery , www.academia.edu/6229428/
5. D. Ussishkin (1971): The 'Ghassulian' Temple in Ein Gedi and the Origin of the Hoard from Nahal
Mishmar

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 The Iconography of the 'Crown'

 Fig.: Nahal Mishmar Crown

Among the ten copper “crowns” of the Nahal Mishmar Treasure, one stands out because of its
three-dimensional symbols. The striking artifact is topped with two vultures, a flat-topped finial
and two portal-like rectangles, each capped by a pair of ibex horns and what may be rows of tiny
musical horns on their outer sides to honor the power of sound. As an example of such power
many centuries later, the sound, the vibrations of multiple horns brought down the walls of
Jericho. The base of the 'crown' which might be considered as a stand-like altar, is inscribed with
abstract palm fronds and is open on one side.

The base of the “crown” which might considered as a

stand-like altar, is inscribed with abstract palm fronds.
For ancient Egyptians, the palm, associated with the Tree
of Life, represented the hierarchical chain of events that
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brought every thing into existence.

The theme of ibex and Tree of Life also appears in later

Mesopotamian cosmology, where the ibex is associated
specifically with regeneration and Ea, god of wisdom and
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life.

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6. https://en.wikipedia.org/wiki/Tree_of_Life
7. www.author.com/education/pdf/SimoParpola-TheAssyrianTreeOfLife.pdf, p. 165

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 8
Bar-Adon's descriptions suggest that the 'crowns' represent temple facades.
There are indeed representations of temples with horns embedded in their walls.
One appears on a cylinder seal impression from Abydos, Egypt representing divine
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power in general. If this interpretation is correct, then this is an early example of
associating altars with horns of both types.

Fig.: Egyptian seal impression 

 Fig.: Great Mother Goddess Rheia/Rhea, Crete, ca. 1,200 BCE

Independent researcher N. M. Djurdjevic, links the symbols of the Nahal Mishmar Crown with
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with the Mother Goddess of Antiquity. In Old European but also Minoan civilization, the image
of the Mother Goddess was often associated with birds, horns of consecration, and the crescent.

_____
8. Bar-Adon, The Cave of the Treasure, pp. 132-33. 39
9. Epstein C. (1998): Aspects of Symbolism in Chalcolithic Palestine; pp. 22-35 in Archaeology in the
Levant; Essays for Kathlyn Kenyon, Aris & Philipps. 1998
10. Private message

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 And what was the spiritual climate at other Near
Eastern sacred sites that paralleled Mother Goddess
worship at Ein Gedi during the Chacolithic Era? No
surprise to find that the predominant animal symbol
found on pottery at these sites was the ibex with its long
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curving horns, holding sway for over a thousand years.

 Fig.: Baghouz funerary pottery

The central design of a funerary bowl from Baghouz

near Samara, depicts four ibexes representing the four
seasons revolving around a Tree of Life. Notice that the ibex horns replicate branches of the Tree.
Such bowls which often held the bones of the new-born, celebrated the theme of reincarnation,
eternal life.

Consider the Moon’s repeated cycles, the waxing and then waning and then brief ‘death’ before
the cycle is repeated. These were accepted as symbolic of the Earth’s annual Winter’s death and
then Spring revival, and by extension Man’s own eternal cycle: Life to Death then Rebirth.

The male Ibex may be seen as the consort of the Moon Goddess, a permutation of the Great
Goddess. The Ibex, holding the moon in its curved horns completes its heavenly journey for thirty
nights or so, then disappears, dying for a night or two, only to miraculously reappear to begin the
process all over again. As independent researcher, Richard Dibon-Smith pointed out, “Once one’s
short life has run its course, one dies, then is reborn—into a new being, ready to live another life
here on earth, perhaps born into the same family, or at least the same village. A strong defense
can be made, I believe, for a religion based on Reincarnation, considering the evidence of their
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own eyes: as the celestial ibex proves time and time again that it will never die.”

The transition from cultures based upon Mother Goddess worship to those paying homage to
Father Gods can be marked by the hiding of the sacred treasure of Ein Gedi from the conquering
Mesopotamians. The beginning of the Bronze Age and the end of the Copper Age.

While the role of the Mother Goddess was changing to conform to the radical needs of the new
age, her companion the ibex was no longer needed. From the former female signs of fecundity and
life-giving, the moon and its horns, the sign of virility ascended. The male’s role of life-creating
was ceded to the Bull and the Ibex whose horns top the portals of the Nahal Mishmar Crown was
now ‘dethroned’.
_____
11. Dibon-Smith, Richard The Ibex as an Iconographic Symbol in the ancient Near East
12. Ibid, p. 14

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  Fig.: Energy Scan #1 of Nahal Mishmar Crown. Cr. Judith Mann

Multi-colored waves with an emphasis on pink and red suggest great energy is emanating from
the crown (Appendix II identifies the colors associated with the energy fields).

 Fig.: Energy Scan #2 of Nahal Mishmar Crown. Cr. Judith Mann

Magnificent numinous rings emanates from the Nahal Mishmar Crown. The first detail that
hits the eye is the pink energy stream with a vivid deep blue center surrounding a golden cloud of
central intelligence. The reader might recall that the side of the main Ein Gedi structure was
painted in similar pink and dark blue waves. Such a connection stretching across millennium,
suggests that the importance of this crown cannot be underestimated. The portals, vulture and
finial express a vital, living presence.

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  Fig.: Energy Scan #3 Nahal Mishmar Crown
Cr. Julia Lincoln

Energy researcher Julia Lincoln, observed

that dynamic red energy comes from the
portal on the right, communicates with the
portal on the left which in turn seems to
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activate the vulture in the middle.

This observation resonates, as ancient

Egyptians believed the doors open both ways
– both into the womb and out of it. Death is
the portal to the realm of both earthly decay
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and heaven; form and formlessness.

 Fig.: Energy Scan #4 Nahal Mishmar Crown

Cr. Julia Lincoln

Energy soars with Vulture, whose wings

span ten feet and in this world, can rise up to
eleven thousand feet.

The gyrations of the empowered bird

represent a transition from this earthly life to
other dimensions as Mut the vulture equates
with the two words–death and mother.

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13. Private message
14. Morrow S.B. (2015): The Dawning Moon of the Mind, Farrar, Strauss & Giroux

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  Fig. Line Drawing of Nahal Mishmar Crown with Symbols. Cr. Helene J. Kantor

A drawing of the 'crown' by Helene J. Kantor shows that the crown originally supporting three
finials. This trinity reflects the threefold nature of existence or the ' Power of Three' as put forth
by Thoth, the Egyptian god of wisdom and balance. In this instance, the three finials amplified by
the two portals, seem to represent life, death and rebirth and strongly suggests that this sacred
artifact might have been utilized in funerary rituals.
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The opening lines of The Emerald Tablets, attributed to Thoth , read:
Three is the mystery, come from the great one,
Hear, and light on thee will dawn.
In the primeval dwell three unities,
Other than these none can exist.
These are the equilibrium, source of creation,
One God, One Truth, One Point of Freedom.
Three come forth from the three of the balance,
All Life, all Good, all Power.
Three are the qualities of God in his light-home
Infinite Power, Infinite Wisdom, Infinite Love.
Three are the circles (or states) of Existence:
The Circle of Light where dwells nothing but God,
and only God can traverse it,
The Circle of Chaos where all things by nature arise from Death,
The Circle of Awareness where all things spring from Life.
All things animate are of three states of existence,
Chaos or death, liberty in humanity, and felicity of Heaven.

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15. The Emerald Tablets of Thoth The Atlantean – https://brotherhoodofthewhitetemple.com

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 The Goddess Mut/Mwt – The Vulture

 Fig. Griffon Vulture

The two birds seen on the crown have been identified as

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vultures. One may be associated with the goddess Mut or Mwt.

Ancient Egyptians considered the vulture to be a protecting

and nurturing mother, and so their word for mother was also the
word for a vulture, “Mwt”. Her multiple aspects changed over
thousands Who Gives Birth, But Was Herself Not Born of Any.

As a primal deity, Mut was associated with waters from which everything was born through
parthenogenesis. Waves painted on the Ein Gedi sanctuary would have expressed the presence of
the Goddess.

Mut forms part of the circuitry of the cosmos that nourishes both planets and stars with
electricity. The hieroglyphs for Mut describe propagating negative charge by a process familiar to
the Griffon Vulture known as 'scavenging'. Scavenging is a misunderstood practice, often
affiliated to either sight or the olfactory system, it is however far more complex. Vultures are
known to interact with other animals to find their food and have an ability to find isolated
carcasses and gather quickly in large numbers in areas where they had previously been scarce.
Some native African peoples believe correctly that they find their food through telepathy. Vultures
fly high spread out at high altitudes where they form a communications network over the
landscape.

It is theorized that the brain of the vulture can produce and detect longitudinal electromagnetic
17
waves of the nervous system to at least a limited degree. Scavenging requires the detection of
longitudinal electromagnetic waves from surrounding animals and other vultures. Knowing
precisely when it is safe to scavenge is the most vulnerable moment in a vulture's life.

_____
16. B. D. Ussishkin (1978): The 'Ghassulian' Temple in Ein Gedi and the Origin of the Hoard from Nahal
Mishmar, BiAr 34 (1971): 23-39; idem, The Ghassulian Shrine at En-Gedi, Tel Aviv 7 (1980): 1-44.
17. www.godelectric.org/mut

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 The Goddess Nekhbet

The second vulture might represent Nekhbet, who began as a local, early predynastic goddess,
patron of the city of Nekheb. She was often shown as a woman wearing the crown of Upper Egypt,
a vulture headdress or as a woman with the head of a vulture.

 Fig.: Nekhbet

Believed to be the 'Mother of the Pharaoh,' Nekhbet might also be depicted hovering with her
wings spread above the royal image, clutching in her claws a Shen symbol, which represents
eternal encircling protection and eternity. Ultimately, Nekhbet became the patron of Upper Egypt
and one of the two patron deities for all of ancient Egypt when it was unified.

The Portals/Doors to Eternity

The two portals may be the most mysterious of the “crown's” symbols, but might be traced to the
two points of entry leading to other dimensions during the Egyptian ritual of the judgement of a
soul.

At the moment of judgement, the heart, which contains a record of all the deceased’s actions in
life, was weighed against the feather of the goddess Ma’at in the Hall of
Two Truths of the underworld or Duat.

This feather, symbol for truth and justice, helped to determine whether
the deceased person had indeed been virtuous. From this point, the soul
was directed through one of two portals, either to proceed to Aaru,
Egyptian paradise or if the heart was found to be heavier than the
feather due to evil deeds committed, it was fed to Ammut, the ‘Devourer’,
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and the soul sent through the door of oblivion for eternity. :

Fig: Feather of Ma'at

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18. www.crystalinks.com/egyptafterlife.html

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 Surprisingly, the portal image appears again far from Egypt at
the site of the Bosnian Pyramids. There, a dated 12,000 year-old
ceramic artifact was found, resembling the doors on the Nahal
Mishmar crown. Might this be a sacred object that served the
same function, that of representing an entry
to other dimension?

Fig.: Bosnian Pyramid Portal Artifact 

The Ibex/Antelope Horns

 Fig.: Dogon Kanaka Mask

Antelope horns-topped doors/eyes seen on

the crown appear in similar form on a
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Malian Dogon mask used in their cyclical Sigui festival. Skhai is a close Egyptian word meaning
20
‘to celebrate a festival ’. The Dogon migrated from Egypt during ancient times , carrying a
straight-forward symbolism, in which an icon tends to resemble what is suggested.

The Ibex or Antelope horns mounted on the crown's portals

suggest antennas for receiving sacred wisdom and guidance.
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The hieroglyphs for horns npt also mean 'to open doors'.
These and other symbols were important clues left by the
Gods and Goddesses to help people make sense of the world.

 Fig.: Ibex licking leg of ancient Egyptian bringing tribute

Ibex are still numerous at the Ein Gedi springs and are also
known in the desert areas of Upper Egypt, where it survives
and thrives under harsh conditions. The Egyptians like
shamanic cultures, believed that the motion of an animal
defines its identity. So the inherent message of the sure-footed
Ibex is conveyed through licking the man's leg, itself an
instrument of motion.

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19. www.randafricanart.com/Dogon_masks.html
20. http.//en.wikipedia.org/wiki/Dogon_people
21. Morrow S.B. (2015): The Dawning Moon of the Mind, p. 30 – Farrar, Strauss & Giraux

16
 From the palace of Nimrud, a similar eighth century
BCE ivory carving depicts a Nubian bearing tribute to the
Assyrian King. The male ibex appears docile as it is led
towards domestication.
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 Fig.: Nubian Tribute Bearer. Cr: Rogers Fund, 1960

Two Uraei, revered serpents, emblems of Upper and

Lower Egypt usually depicted on the headdress of ancient
Egyptian rulers and deities are embroidered on the man's
short kilt along with other sacred symbols.

The ivory tusk that provided the raw material for this
relic was almost certainly taken from an elephant in lands
below Egypt and carved by an artist in Phoenicia.
Phoenician ivory carvers were strongly influenced by the
themes and style of Egyptian art owing to traditionally
close ties between the two cultures.

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Fig.: Ibex on Tree of Life ivory carving. 
Cr: Rogers Fund

This Phoenician open-work insert used

in Assyrian royal furniture embodies the
deep connection between the Ibex and
The Tree of Life as a palm behind it. It
can be interpreted that a Tree frond
serves as its neck as well as representing
its tail. As the Ibex holds its tail in its
mouth it seems to create the symbol of
eternity much as the Urobos, the sacred
snake does in a similar position.
24
On the front flank of the Ibex appears an encircled X, which is the Sumerian pictograph gan
(“garden”), as well as the ancient symbol of the African Great Mother, Mgba Nnechukwu, tying
the symbol of the sacred Ibex to Nubia, Upper Egypt, Canaan, Phoenicia and Mesopotamia.

_____
22, 23. www.metmuseum.org/toah/works-of-art/60.145.11/
24. The term gan also refers to the Sumerian word Magan (“Garden of Eden”).

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  Fig.: Amratian funerary urn painted with flamingos and ibexes

A clue to the origin of the religious cult at Ein Gedi

appears as a painted clay vessel from the site of El-Amra of
Upper Egypt. The Amratian culture existing from about
4,000 to 3,500 BCE, concurrent with earlier phases of the
Ghassulian culture, traded with Nubia, Lower Egypt and
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the Sinai. It is likely that their trade routes were followed
by the Ghassuls to arrive in the Negev desert. Motifs of ibex,
birds, snakes, lattice portals and pyramids reinforce the
religious connection to Ein Gedi and later, to Mesopotamia.
To early Egyptians, flamingos represented Ra, known as the
god of the sun. The ibex symbols on the Baghouz funerary
bowl echo those of the painted Amratian funerary urn.

A trio of snakes undulate across the jar to a tear in one of the lattice portals. Do these snakes
signify kundalini energy utilized to achieve entrance to other dimensions?

The band of pyramids resemble

those of Nubia and might represent
initiation centers where the sacred
teachings were transmitted.

Below, an early cylinder seal from

Mesopotamia shows the double
snake ascending to unite with the
divine double goat and the mystical
rosette. Its ascension is parallel to
the ascent of the eagle of ecstasy.

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Fig.: Nubian pyramids located at Meroë in present Sudan

Fig.: Negev Desert Ibex Petroglyph

27
Fig.: Mesopotamian cylinder seal impression
_____
25. www.metmuseum.org/toah/works-of-art/60.145.11/
26. Credit UChicago
27. Frankfort, pl. IIIb

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  Fig.: Minoan altar with ibex and falcon symbols and offerings

The Minoans, who incorporated Egyptian symbols into their worship, recognized the Ibex as
the ascending soul of man and the Falcon as Ra, the sun god. In this drawing copied from a wall
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at Thera , Crete, there is emphasis on double portals of the Duat and the Djew hieroglyph,
which appear as twin offerings and rests for the falcons.

The Egyptian hieroglyph Djew or Mountain is depicted as peaks

with a valley running between them. When the disc is added above
the Djew crescent, it becomes Akhet, horizon of the sun, referring
to both its rising and setting and its cyclic journey from life to
death and life again in its “boat of a million years.”

 Fig.: Ugwu Ele, Lejja, Nigeria Cr: Catherine Acholonu

29
The image of the Djew leads us to its striking origin, Ugwu Ele , literally meaning "Hill of
Ele". Lejja means Ele Jaa ― the hidden place of Ele, the Duat of the Hidden Sun in Egyptian
religion.
_____
28. Marinatos, Spyridon Nikolaou (1960) Crete and Mycenae
29. Acholonu C. (2014) Eden in Sumer on The Niger

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 Standards of the Nahal Mishmar Hoard

 Fig.: Standards or Scepters of the Nahal Mishmar Hoard. Cr. Jewish National Museum

The most common objects of the Hoard were 118 standards. They may have been mounted on
poles as symbols of rank and carried in a procession heralding a ceremony.

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 Fig.: Narmer Palette detail – 1st Dynasty Egypt

On the famous palette of Narmer, named after the first king of Egypt, a detail depicts men
carrying standards and banners, such as would have been carried in a procession at Ein Gedi.
These banners and emblems can be seen as markers for what is designated as hallowed.

_____
30. www.ancient.eu/Narmer_Palette

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 The Vulture Standard

Unique among the Nahal Mishmar cache of standards is

the lost-wax cast Vulture, inscribed with the wave or M
motif through the breast wings and sides, announcing the
presence of the Mother Goddess Mut. As her emblem,
there is a possibility that the Vulture standard headed
religious processions.

Fig.: Vulture standard 

 Fig.: Energy Scan #3 Vulture Standard. Cr. Judith Mann

The Vulture standard radiates a high white vibrancy, an indication of its connection to the
cosmos. It is surrounded by concentric rings of pulsating energy.

 Fig. Energy Scan #4 Vulture Standard. Cr. Judith Mann

Dynamic red energy in the wing and chest area of the standard is balanced by lower green
healing energy as revealed in this scan.

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 The Twin Ibexes Standard

 Fig.: Twin Ibexes Standard

An interpretation of the two ibexes standard is that they are twins, each facing an object, one a
curved sword and the other a horn. The joined hind parts of the Ibex are connected to a long
tradition of joined animals, such as crouching lions on a First Dynasty seal from Saqqara or the
oxen from the Hunters Palette of pre-dynastic Egypt. The twin is both form in this world and its
underlying ethereal template, the first-born. The twin is a symbol that holds the third dimension
of duality together. Should the twins split and look in the same direction, the game is over.

 Fig.: Energy Scan #5 Twin Ibexes. Cr.

Judith Mann
In hieroglyphics, sword is depicted as the
same word as book (sh'tishot). That the
book is the sword enables the conquest of
death; the word implies that it can carry
31
the living meaning across millennia. A
sentient being lives on its twin, the word.
The interpretations are supported by the
frequency of celestial pink ringing the standard and the presence of the horn to announce the
judgement ritual.

_____
31. Morrow, S. B. (2015): The Dawning Moon of the Mind – Farrar, Strauss, and Giraux, p. 71

22
 Djed Standards

Several banded standards in the Hoard also bear resemblance to the Djed pillar.

 Fig.: Djed  Fig.: Uas  Fig.: Ankh

From early Dynastic times the Djed was associated with the Uas Scepter and the Ankh, a three-
in-one concept of “life-stability-serenity.” From this trinity came the verb “djed”, which meant
“stable or to be permanent”. The Ankh evokes the shape of a key which allows the doors to
eternity to be opened.

The Djed-pillar was the sacred object worshiped as the world tree in pre-Dynastic times. It was
believed that the Djed when prone, was not in touch with other dimensions. A function of the
Pharaoh was to ceremonially raise the Djed, an essentially magical feat to open a portal between
the worlds; to reconnect the human community with the greater consciousness of the universes.

The Djed amulet, a replica of the Djed pillar worn to ensure that the deceased had the
permanence and stability of Osiris, god of transition, resurrection, and regeneration. Its name,
“Backbone of Osiris,” is written as a Djed pillar with a tear drop shape moving upward. We can
see this as emblematic of kundalini energy moving upward to the dome of the cranium. This
concept is made even clearer by the specialized word for astral light or psychic brilliance in the
Egyptian language, which is also pronounced djed'.

It seems possible that a variation of the Djed ceremony was performed at Ein Gedi by stand-in
priests utilizing the Djed scepters. This to ensure that deceased members of the congregation be
safely carried through the vast waters of eternity from one world to the next.

23
 32
Appendix I – Explanation of Energy Photography

As stated in Assessing The Frequencies of Bosnian Pyramid/ Ravne Tunnel Stones and
Artifacts With Energy Photo Imaging , Julia Lincoln uses the following system in her Energy
Imaging Lab, set up as a controlled environment for consistency in experiments. Judith Mann
does the same in her lab.

Both Lincoln and Mann employ the Oldfield New Energy Vision Field Camera for researching
33
subtle-energy fields, an advanced system to visualize an energy field matrix in real-time. What
is invisible to the naked eye becomes visible. It works on the principle that when a photon of light
travels through a subject's energy field it is very subtly altered by the energy it has passed
through. These changes allows an indirect view of the energy field of a subject by observation of
the light interference patterns that this interaction creates. Light is shed on a multiple vortex
level as it brings in photons from other dimensions.

_____
32. Mann J. & Lincoln J. Assessing The Frequencies Of Bosnian Pyramid/Ravne Tunnel Stones and
Artifacts with Energy Photo Imaging – www.academia.edu/7520434
33. www.electrocrystal.com/nev.html

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 Appendix II- Colors Associated With the Energy Fields

When light travels as waves of energy it is with different frequency lengths depending upon its
color and measured as the distance between the top of one wave and the top of the next.

 Fig.: Wave Length of Colors

This chart shows the lengths of the waves of different colors of light. Purple and blue lightwaves
have short wavelengths which vibrate quickly. Red light has a longer wavelength, which vibrates
more slowly. This difference is based on the fact that short wavelengths carry more energy than
ones with long wave lengths. Brief interpretations of the colors revealed through the imaging
systems:

Red - life energy, regeneration or earth energy.

Orange - vitality

Yellow - intelligence

Green - harmony, healing

Blue - teachings from a higher level of consciousness

Magenta - higher consciousness

Purple - energy fields from beyond our conception

White - all-encompassing light

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Bibliography

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