Initial idea :
November 17th, 2018
I am listening to this music while painting. It reminds me the happy very few years after I left the house of my parents and before I graduated. I had my own home that I renovated with my colors and tastes. I would burn some incense, light a candle, prepare some tea or a hot chocolate, listen to the music, mostly classical music, and sit hours in from of my drawing table to sketch a project.
February 01, 2019
After I wrote the Geography of the Apostles, I made a little more research about El-Armana. I won't write the result of my research here, but when I drawn the women behind Empress Theodora, the two other women have a symbol on their heads which is an Egyptian symbol. In fact, I believe that one woman may represent a daughter of Akhenaton, or maybe both, one for Egypt and one for Israel. The way the daughters of Akhenaton are represented in sculpture, their wigs, their lips, the curve of their eyes is very similar to the portrait of the two women behind Theodora.
Theodora was not from the nobility, but she was "landmarked" as a dancer who studied in a monastery of Egypt, then moved toward Israel to Constantinople where she married Justinian. Then she became an Empress. She carries the Graal of her "blood" as a representation of her culture and the roots of her religion. She gives the Graal to the Roman clergy. She represents a matriarch passing her role as a matriarch to a man.
Something came to my attention while searching about El-Armana:
Akhenaten lived during the 14th century, so did Moses;
Akhenaten moved the "capital" of Egypt to Armana, in the middle of the desert, so did Moses with the Jews who created Israel. Akhenaten may have moved to Armana, bringing with him the skilled craftmen who were probably linked by blood to the tribes of Israel;
The story of the golden calf is a metaphor to the old religion of Egypt and the new one created by Akhenaten with words rather than hieroglyphs. This is a simplification that translates a sacred language (hieroglyphs) into an understandable language to the people;
El-Armana is close to Hermopolis where there is the ancient temple of Thot, the sacred "library".
Akhenaten changed the language of the religion, but not the religion by itself. He created monotheism on the roots of Thot and the knowledge inside the temple of Thot.
The femininity of Akhenaten, the curves on his body are a representation of the MOI, but it is also a spiritual power passing from the female to the male and within this power, the system of belief, the religion and the governance.
The octogone on the dress of the woman behind Theodora is representing Capernaum which is representing the Ogdoad of Hermopolis;
The "mana food" inside the temple of Jerusalem might be a reference to El-Armana; and by "food", we might want to understand spiritual food just like the "blood" and the "bread".
We learn from the architecture that the real history was kept secret, passing trough the generations since the 14th Century. This secret is a representation of God:
God as a source of life between the Sun and Earth;
God as a source of fertility between male and female;
God as a source of knowledge that gives the geometry, the engineering and the sciences;
God as a source of wisdom to alleviate the natural instincts and create a humanity made for God and by God itself, by its natural harmony.
God is not only an harmony between male and female. God is an harmony between sexual natural instinct and spirituality and to create a humanity, both sexuality and spirituality must be balanced, this is the foundation of a society.
Akhenaten was called the heretic pharaon because God was not the Sun. God was in the harmony between the Sun and Earth, something invisible and immaterial. Harmony exists naturally in plants and a humanity, to belong to God, must find the same harmony in itself, in each head, in each family, in each village, in each tribe, in each country. The way historians have seen Akhenaten may be the result of an interpretation far from the truth. There is the Sun but there is never the Sun by itself, all alone as a singularity. The Sun is related to people and mostly to Akhenaten as a high priest. Here also, there might be different interpretations, because Akhenaten being the high priest does not mean that he would be the only high priest, but that in the pyramid of roles and powers, Akhenaten is a symbol both of priesthood and of governance. He is represented with his wife and his daughters on his knees. He might have had more children, but six daughters and two parents may have want to symbolize an Ogdoad, or a sacred geometry related to matriarcha under a patriarchal system.
When Theodora gives the Graal to the clergy who passes behind the curtain, the fountain is a parallel to baptism, it is a removal of her sexuality as a matriarch to pass in the hands, behind the curtain, to the male clergy. She gives the Graal to the two priests who are represented behind Justinian with the army. In between the curtain and Justinian, there is the authority of the clergy with the book of the laws. This is the purification. Justinian provides the bread to the clergy as a father to a son. Jesus, who is a generic name given to the high priest, is represented here with the theologian in gold dress.
The sexuality is removed from Theodora through baptism, but there is no fountain on the side of Justinian. Instead, there is the book of the laws in the hands of the clergy, what clearly symbolizes the establishment of a patriarchal system. This might have been the purpose of Akhenaten when he revolutionized the Egyptian clergy, but with the representation of the art, he was suggesting a patriarchal system playing the role of the mother. This is a spiritual revolution that reminds many parallels with the modern times and a transition in a definition of the genders that will probably change the very nature of a humanity. Still, God has a rule and this rule may play.
Note: The High Priest is called Maximianus. I made a research on the etymology of this name and the description I found on a website that could really be the exact character of this priest as the father of the church, many similarities :
Who is he?
Energetic and masculine, brave and assertive, Maximianus dreams of being in charge. He is quick-tempered, touchy and aggressive, particularly when he finds himself in situations where he is out of his depth. Brisk and often in a hurry, he is impulsive and irritable. Outbursts of anger are a common occurrence and he could occasionally be violent. He seeks power, and for this reason he doesn´t tolerate the authority of others very well. He is stubborn and capable of acting in bad faith, and is not always able to admit when he is in the wrong. Well-armed for the battlefield of life (as he sees things), he is active, resourceful and perfectly capable of recognizing an opportunity when he sees one and grabbing it with both hands. He has a head for business while his feet are firmly planted on the ground, and is actually more concrete, practical and physical than truly intellectual. Strict, authoritarian, loyal, frank and direct, he loathes pretence, deceit and flattery, which will get you nowhere with him. He is a passionate man, however he has great difficulty expressing his deeper feelings. As a child, his argumentative attitude will certainly be very testing for his parents! Nevertheless, they should be firm with him, but remain fair and coherent; he would prefer a well-deserved correction than laxity or weakness in his parents - attitudes that would surely condemn him to grow up to be a rather disagreeable adult. Maximianus is also affectionate and demonstrative with a big, generous heart. It is important to inculcate values such as order and method as early on as possible, as well as encourage him to participate in physical activities - preferably as part of a group, which will provide an outlet for his excess energy.
What does he like? He wants to win and possess, and he knows just how to use (if not abuse) his natural magnetism. He enjoys physical exercise, sport and action, which are necessary to his equilibrium. When in love he is passionate, demanding, jealous and possessive. His abrupt manner, lack of tolerance and diplomacy could scare off more than one sensitive soul... Others will consider his exclusive attitude as proof of his strong feelings and passion! But make no mistake, Maximianus is an affectionate and tender-hearted creature, underneath it all.
What does he do?
Maximianus is unlikely to be tempted to undertake a lengthy program of study because his need for action and accomplishment is too great. He will particularly be attracted to a career that goes some way towards satisfying this craving for action or in connection with a certain power (police, army, advertising, sport, politics...), activities in relation to travel (import-export)..., business, management, accounting, economy, the stock market, a career in the medico-social or medical fields, particularly surgery.
February 2, 2019
I found the meaning of Maximianus == "quasi maxim inanis" what means "The Greatest Empty".
This notion of "quasi maxim inanis" in the mosaic of Ravenne is very important in women history, because some men tend to believe that a woman is like a pot in which a man will plant a seed. In "The Menstrual Cycle of Men", I demonstrate that women, just like men, have an exocytosis of one egg which is the seed. The man brings a genetic material and the genetic materials from both male and female fuse into one genetic material that grows inside the seed.
In the mosaic, Theodora brings the blood that pass to the clergy and behind the curtains, to the other gender represented by Justinian, the clergy, the army and "The Greatest Empty". The Greatest Empty could be the universe. It could be also the empty circle and the notion of an infinite growing circle. The circle is linked to baptism and to the name of God as I explain on my comment in Reddit.
When the clergy removed the sexuality of Theodora, her right to discuss of sexual matters disappeared, what mean also her right to participate in the Divine Harmony because the other side represented by Justinian is not subject to the Divine Harmony. The male section is subject to the law. The male section of the mosaic is subject to the law written in the sacred book. Justinian has the halo above his head, while the high priest has the Maximianus, "The Greatest Empty". Both Justinian and the high priest wear gold and symbolic distinctions, the bread and the cross of law. To better understand the meaning of the cross, I recommend that you read my other pages on this subject:
My initial message was removed from the sub/r/DebateReligion what demonstrates exactly my point. The clergy has used sexuality to funnel people inside the church (Part 2) but the clergy also removed the right of the people to speak openly of important matters such gender, sexuality, the creation of life and the roles of men and women in the society. Women had gained little more freedom than they had before with the Roman Empire. Theodora had created convents to take in the former sex slaves and protect them under the authority of the church, but while the church created a protectorate for the nuns, the church also created a vacuum in which all other women would have any rights on their own sexuality. They were forbidden to talk and we see it here on r/DebateReligion, sexuality is taboo. Women were also forbidden to have rights, the law is for men only. They were forbidden to have a segregated section of women only, their part of the mosaic is including men while on the male section, there is no women to represent a clergy. Clergy was masculine and gendered. The Greatest Empty is on the men side while on the women side, there is the cupola.
On my post about Women in Construction Trades, I show how the clergy has impacted the society as we see it in construction trades. In England, women who played a role in construction trades were either the widows of savant masters or the laborer, but they were not savant and not master. Construction trades have made Egypt and construction trades have made the Roman Empire. Without the construction of roads, bridges and aqueducts, the Roman Empire would not have been able to contain the empire, but the empire enslaved women to steal their lands and their properties through the bride-wealth/dowry systems. The church has changed the nature of the relations between men and women, but women were still deprived of their rights, their sexuality and their gender inside the clergy. It is a full heritage that changed nature and hands to become the property of the men in the Roman army, the Roman government and he Roman clergy. A clergy without women.
The church is a very pathological demonstration of psychoanalysis because the church and the men of the church identify themselves with the super-ego, while Akhenaten identifies himself as the MOI, an ego whose ambivalent "body-fication" is between the male and the female, parenting his daughters and receiving part only of the rays from the Sun. The Sun shines both on Pharaoh and his family. They represent the people of the Earth, the humanity. The MOI is in French "la personne humaine en tant qu'elle est consciente d'elle-même et objet de la pensée", "the human person as she is conscious of herself and object of thought".
Represented with the curves on his body, Akhenaten represented this state of consciousness that was lost in the church because the church created the idea that above the high priest, there is The Greatest Empty. If there would be another way to say that above the church, there is nothing, then only words could translate the idea that the church rejected the idea of a God bigger than themselves. They were the super-ego and because they were the super-ego, they could not have any other super-ego than themselves. The mercy of God that I describe in the Geography of the Apostles is left to hazard in the clergy but the super-ego of the clergy becomes the super-ego of any ego of the Roman Empire, and the clergy has used the "id" to drive the people inside the church where the ego was the people.
Rejecting the idea of a God, they rejected the idea of a Divine Harmony that would include women. We see it on the Cathedral of Chartres where women are the shepherd on the South facade, close to the donkey. They are not the priest, they are not the clergy. Women only have two status since Theodora, the nun and the sex slave. While representing Theodora below the cupola, the vertical line in the architecture of the basilica of Ravenne is the cupola ABOVE the labyrinth (the horoscope) and this is where she stands, in the tumultuous labyrinth of life, a life driven and organized by the men where the woman is the lamb. Theodora has become a representation of all the women in the Ancient Christian Society, submissive and infantilized.
February 2, 2019
I opened a discussion on Reddit about Quasi Maxim Inanis:
In fact, Quasi Maxim Inanis would mean "Like a Maximum Vacuum", what could mean that above the law of the book, there is nothing material and above the high priest, there is nobody material. But since the word is written, there is something, "Like a Maximum Vacuum". In the architectural context, the maximum vacuum is very interesting because in the verticality of San Vitale of Ravenne, there is the oculus inside the cupola and below the oculus, there is the labyrinth. "Like a Maximum Vacuum" could be a parallel to the oculus which is not death, but the Last Judgement as mentionned in The City of God by Saint Augustine. The Last Judgement is above the high priest and above the book of the law.
Yesterday, I wrote that Theodora was represented under the cupola and in the architecture of the basilica of Ravenne, the cupola is above the labyrinth. Theodora might not be exactly represented as the lamb, but the person below the cupola, below the authority of the clergy what clergy is linked to Justinian.
I wrote yesterday that on the male side, there is no water, but I could add today that there is the fire of the incense. The square on the mantle of the men is a submissive representation of the authority. Justinian is submitted to the high priest and he gives him the bread as a sacrifice. The bread was usually cooked in community oven and a tax was paid with the bread. On Justinian's mantle the square is gold as the gold on the high priest chasuble. The two priest on the side of Justinian have a brown square on their mantle as the brown of the mantle of Justinian. The two priests on the side of Theodora also have a brown square on their mantle, what means that they are submitted to the authority of Justinian, who is submitted to the high priest.
The socks of Justinian are red, so is red the fire of the incense and one shield behind him. This might be a symbolic way to say that his power is under control and he is walking on embers, God and the army.
Theodora, the woman on her left and the six other women could be a parallel to Akhenaten and his family. The four priest on the left side of Justinian might have represented the men of the Ogdoad of Thot in Hermopolis.
Prior to Ptolemaic times, the city carried its Coptic name 'Shemnu' that is derived from the ancient Egyptian 'Khemnu', which means the city of eight or "Ogdoad", referring to its mythological origin which later gave rise to its current Arabic name Ashmunin. "Ogdoad" are made of four male deities and their feminine counterparts, the principals of creative powers whose interaction enabled harmony to be born. Source : https://www.newhermopolis.org/historical.php
A document that might illustrate my thoughts: http://www.creationicc.org/2013_papers/2013_ICC_Cox_Flood.pdf
I will comment this document later.
Same document underlined:
From the discussion on Reddit, the correct translation of Maximianus would be:
Quasi Maxime Inanis == Huge Emptiness
This is what the PDF inspired me: