Religious buildings of the Ancient World and Ancient Egypt.

Questions:

1. Megalithic places of worship: dolmens, menhirs, cromlechs.

2. Mesopotamia, Babylon - ziggurat as a religious building.

3. Ancient cult architecture on the American continent (sacred architecture of the Mesamerican Indians).

Megalithic places of worship: dolmens, menhirs, cromlechs.

Megaliths- (Greek "big" and "stone") - structures of huge boulders, slabs; typical mainly for the final Neolithic and Eneolithic (4-3 thousand BC in Europe, later - on other continents - in Asia and Africa). Buildings of predominantly religious purposes.

Menhir

Menhir(from Lower Breton men- stone and hir- long, translated as "tall stone") - the simplest megalith in the form of a roughly worked wild stone installed by a person, in which the vertical dimensions noticeably exceed the horizontal ones. Sometimes erratic boulders transported to Europe during the Ice Age were used as material.

Menhirs were installed singly and in groups - oval and rectangular "fences" (cromlechs), semi-oval, lines, alleys.

The sizes of menhirs vary considerably, they reach a height of 4-5 meters or more (the largest is 20 meters high and weighs 300 tons).

The shape is usually uneven, often tapering towards the top, sometimes close to rectangular.

Menhirs are actually the first authentically man-made structures that have survived to this day. Until the 19th century, archaeologists did not have sufficient data on their origin. The development of methods of radiocarbon analysis and dendrochronology made it possible to more accurately determine their age: mainly menhirs belong to the cultures of the Neolithic, Copper and Bronze Ages.

Appointmentmenhirs for many centuries it remained a mystery, since practically nothing is known either about the public organization, or about religious beliefs, or about the language of their builders, although it is known that they buried their dead, engaged in agriculture, made clay utensils, stone tools and jewelry. It was believed that the Druids used menhirs in human sacrifice, either as boundary pillars or elements of a complex ideological system.

Among the probable appointments are cult (ritual fencing of other structures, symbols of the center, defining the boundaries of possessions, elements of rituals of transition or fertility, phallic symbols), memorial, solar-astronomical ( sighting devices and sighting systems), boundary. Often, subsequent peoples reused the menhirs for their cult and other purposes, making additions, corrections, inscribing their own inscriptions and even changing the general form, transforming them into idols.

Radston Monolith, the tallest menhir in Great Britain, weighing about 40 tons.

Despite the fact that the tradition of placing stones vertically is one of the oldest, it is also one of the most stable. Humanity still erects stone steles in honor of any event or intention.

Menhirs are widespread in various parts of Europe, Africa and Asia, however, they are most often found in Western Europe, especially in Great Britain, Ireland and the French province of Brittany (1200 menhirs have been found in northwestern France, belonging to various periods of ancient history). On the territory of Russia, there are menhirs (belonging to different ancient cultures) in the south, in particular in the Caucasus, in the Southern Trans-Urals, in Altai, in Khakassia, in the Sayan Mountains and the Baikal region.

Armenia	Zorats-Karer
England	Birkrigg | Bluhenge | Boschednan | Devil's arrows | Keats-Cotey | Castlerigue | en: Doll Tor | en: Drizzlecombe | en: Gray Wethers | Hurlers | Long Meg | en: Nine Ladies | Round Loaf | en: Rollright Stones | Radston Monolith | Severn Cotswold Tombs | Stanton-Drew | Stony Littleton | Stonehenge | Swinside | Avebury
Jersey	Jersey dolmens | La Hug-Bi
Northern Ireland	Oglish | Ballino Stone Circle | Behmore | Coricum | Dramskinny | Legananni
Wales	Barclodiad i Gaures | Bryn Kelly Dee | en: Carreg Coetan Arthur | Park Kum | en: Pentre Ifan | en: St Lythans | Tinkinswood
Scotland	Ansten | Barpa Langas | Dwarfie Stein | Carlin stone | Pictish stones | Callanish | en: Clach a "Charridh | Clach an Truiseil | Drybridge | en: Dupplin Cross | en: Easter Aquhorthies | Quonterness | Brodgar Circle | Stenness Megaliths | Midhow | Nap of Hawar | Scara Bray | en: Sheldon Stone Circle | en : Steinacleit | en: Strichen Stone Circle
Balkan countries	Cinema
Germany	Altendorf | Hollenstein | Donsen-Siddernhausen | Calden | Laura | Niedertifenbach | Oldendorf | Qushen | Spellenstein
Greece	Tomb of Atreus
Ireland	Ardgrum | dolmen Brownshill | Bru na Boyne | Castlestrange stone | Glantan East | Drombeg | Stone ring Urag | Turua Stone | Nocnacilla | Carrowkill | Carrowmore | Loch Cru | Mihambi | Pulnabron | Risk
Spain	Viera | Cueva de Menga | Naveta | Talayot ​​| Taula | El Romeral
Italy	Tomb of the Giants | Domus de Janas | Nuragi | Sardinian Ziggurat | Specchia
Malta	Megalithic Temples of Malta | Ggantija | Hajar Kim | Mnajdra | Ta "Hajrat | Sorrow | Tarshien | Khal-Saflieni
Portugal	Alcalar | Almendrish | Anta de Pendilla | Anta Grande do Zambujeiro | Comenda da Igreja | Pavia | San Brissos
Russia	Volkonsky dolmen | Dolmens of the Western Caucasus | Stone box | Kudepstinsky cult stone | Labyrinths of the North | Megaliths of Vera Island | Mostishchensky labyrinth | Seydy
Abkhazia	Dolmens of the Western Caucasus
Scandinavia	Stone circles | Stone boat | Klekkende-Hyoi | en: Picture Stone | Röse
Ukraine	Stone grave, Mergeleva ridge
France	Barnenes | Bugon | Gavrini | Galliard | Dyssignac | Kav-o-Fe | Karnak stones | Kerserho | Kukuruzu | La Roche-aux-Fe | Palagyu | Table de Marchand | Filitosa | Shan Dolan | Kurgan Er-Grakh | Menhir Er-Grah
Related to the topic:	Vishaps | Dolmens | Cairns | Stone box | Corridor Tombs | Cromlechs | Megaliths | Menhirs | Nuragi | Orthostats | Ryose | Ceci | Torre | Henji
See also: List of megalithic monuments in Europe | Portal: Prehistoric Europe

Trilith

Trilith- (from the Greek τρεϊς - three and λίθος - stone) - a prehistoric cult structure, consisting of monoliths - two vertically placed stones and the third, placed on top as a lintel; in the aggregate, a semblance of a gate is formed. In other versions, all three stones stand in parallel, at some distance from each other, for example, over prehistoric tombs in Prussia, along the banks of the Oder. Triliths, like megaliths in general, served as a type of gravestone in the Neolithic period or as markers of sacred places. They can also be part of a cult complex, for example, triliths are among the elements of Stonehenge (cromlech, England).

Trilith. South Korea (?).

Dolmen

Dolmens(from bret. taol maen- stone table) - ancient burial and cult structures belonging to the category of megaliths (that is, structures made of large stones). The name comes from the appearance of structures common for Europe - a slab raised on stone supports, resembling a table.

In the most architecturally completed form (which is inherent in the dolmens of the North Caucasus), the dolmen consists of of five or six stone slabs and represents a closed stone box: on four plates, placed vertically, there is a fifth; optionally, the sixth plate is the bottom.

The front transverse plate usually contains holes e - round (most often), oval, arched, sub-triangular or square shape, which is closed with a stone plug, but it may not exist (false-portal dolmen): in this case, the hole can be behind or on the side.

Plates are often connected in a groove, there are practically no gaps.

The side walls and roof can protrude in front of the portal or facade, forming portal niche which
covered with a common roof or had a floor from a separate slab.

Terminology. The term was originally used as a collective name for megalithic chamber tombs. In Russia, dolmens are traditionally called West Caucasian (now Ural) stone slab, composite and monolithic tombs. This also applies to similar structures in other regions of the world..

A dolmen could settle on the surface of the earth and a mound was poured over it, which subsequently often fell and was destroyed; or at the top of a mound. Sometimes dolmens took a more complex shape: for example, they were connected to a narrower corridor of standing slabs, or they were arranged in the form of a large rectangular chamber, in one of the longitudinal sides of which an entrance with a corridor was made (so that the whole structure took the form of a letter T), or, finally, the dolmen turned into a series of longitudinal chambers that followed one after the other, sometimes expanding more and more and deepening into the ground. The material from which the dolmens were formed varies depending on the terrain: granite, sandstone, limestone.

There are dolmens not made of slabs, but monolithic ones.

Lazarevsky monolithic dolmen, Sochi

Spreading. Dolmens are located mostly in North Africa, Western, Northern and Southern Europe. The largest number of dolmens was found in Korea (about 30,000).

In Russia, in the Western Caucasus, there are a large number of dolmens.

Appointment

The main function for dolmens of all types is funerary, which is confirmed by archaeological research. However, this point of view is disputed.

The orientation of the dolmens (the vector directed from the back wall to the front slab) on the terrain is different, but, as a rule, it fits into the arc of sunrise-sunset and the culmination of the celestial bodies northeast-south-northwest. Only a few monuments are directed to the north ... observations on individual monuments have shown that they mark the points of sunrise and sunset on the days of the solstices and equinoxes.

Such observations may be an indirect confirmation of the assumption that the builders of dolmens were not alien to the solar cult.

Cromlech

Cromlech- (from Celtic, Wales: crom(bend, curved) and llech(stone slab, stone pavement) - an ancient structure, which consists of several processed or unworked elongated stones placed vertically in the ground, forming one or several concentric circles. Structures of this type are often referred to as megaliths. Sometimes in the center of such structures there is another object: a rock, a menhir, a dolmen, or even a whole megalithic complex.

Purpose: The purpose of the cromlechs is not always completely clear. Known uses include ritual enclosure of sacred space to form " temple in the open air", Calendar system viziers tracking the positions of the Sun and possibly the Moon. There are theories linking some cromlechs to astronomical observations. There are cromlechs performing purely technological functions. Thus, many mounds were lined with stones and rocks to prevent the spread of the artificial hill. And, of course, there are systems in which each of these functions is present to one degree or another.

Cromlech. Swinside, England.

Spreading. Cromlechs are found almost everywhere. On the territory of modern Russia, cromlechs are present everywhere in the most diverse forms - from Karelia to the Caucasus.

Kurgan dolmen with cromlech, Caucasus

Megalithic complex with cromlechs of Everbury, England

· Göbekli Tepe: cromlech of the 9th century. BC NS. (Turkey)

Göbekli Tepe

Cromlech (Ukraine)

The most famous cromlech is Stonehenge, located near the city of Salisbury in the UK.

Stonehenge

One of the largest megaliths on the planet is located in England, 128 kilometers from London, in the middle of the Salisbury Highlands.

Stonehenge is a sandstone ring with large stone slabs erected on top. Inside the ring is another horseshoe-shaped structure - larger blocks are grouped in pairs and blocked by a third stone. Inside the large horseshoe is a small one made of blue stones. The construction dates back to 4-2 thousand BC. (several centuries before the fall of Troy), of course, we cannot talk about any technical assistants. Each block that makes up Stonehenge weighs at least 50 tons, and the nearest rock is 350 km from where it stands.

It is also obvious that the place where Stonehenge stands now was not chosen by chance. Each megalith is located directly above the underground stream of water, and exactly at those points where the rivers intersect with each other. Under Stonehenge itself, a huge number of underground rivers and streams have been discovered. The mystics say that water helps the accumulation and storage of energy and information.

Stonehenge is a sandstone ring with large stone slabs erected on top. Inside the ring is another horseshoe-shaped structure - larger blocks are grouped in pairs and covered by a third stone. Inside the big horseshoe is a small one made of blue stones.

Mesopotamia, Babylon - ziggurat as a religious building.

The first civilization arose around the 4th millennium BC. NS. on the territory of the "fertile crescent" between the Tigris and the Euphrates, giving birth to the colorful culture of Mesopotamia (Mesopotamia). This culture, as was customary in the ancient agricultural tribal communities, reflected the main thing for them - ensuring fertility through community-based irrigation agriculture.

The culture of Mesopotamia is divided into several periods. According to the names of the city-states of Sumer in the south and Akkad in the north, the culture of Mesopotamia is 4-2 thousand BC. NS. called the Sumerian-Akkdk. According to Babylon in the south (1894–7Z2 BC) and Assyria in the north (1380–625 BC) - Assyro-Babinlon. New Babylon led to the emergence of the New Babylonian, or Chaldean, culture (626-538 BC), the style of which continued in the artistic traditions of Persia.

So, Sumer- the first written civilization that existed in the southeast of the Mesopotamia of the Tigris and Euphrates in the IV-III millennia BC. NS.

Small city-states with the adjacent lands had their own ruler and patron - some deity of fertility, which was part of the numerous pantheon of the Sumerian-Akkadian gods.

The central temple of the city was dedicated to the patron god. Its size determined the scale of the surrounding world: mountains, valleys, rivers.

Frequent and at times catastrophic rises of salty ground waters to the surface and sandstorms forced to build structures on high platforms with stairs or a gentle entrance - ramp.

The main god of the Sumerians was considered Enlil, "Lord-wind", the god of the air, the king of gods and people. He separated the sky from the earth, created trees and grasses, invented a hoop for cultivation and construction work, established abundance and prosperity.

Enlil, a common Sumerian god.

No less significant functions were performed by Enki, lord of water and wisdom, judge of gods and people. In the form of an ardent bull, he united with the Tigris River, represented in the form of a wild cow, and filled it with fresh, sparkling, life-giving water. He "called by name ... (ie gave life) life-giving rain, forcing it to fall to the ground, swamps and reed thickets, endowing them with fish."

Enki(Ea), the Sumerian Creator God of the Tigris River, the god of waters (water), is mentioned in the Old Testament. The Tigris River, according to mythology, flows from Eden, paradise.

The third major god was the sky god Anu.

There was not enough wood and stone on these lands, so the temples were built from fragile raw bricks and required constant renovation. The tradition not to change the place and to build the "dwelling of God" on the same platform led to the emergence of ziggurat - a multistage temple consisting of stacked cubic volumes. Moreover, each subsequent volume was less than the previous one along the perimeter. The height and size of the ziggurat testified to the antiquity of the settlement and the degree of closeness of people to the gods, giving hope for their special protection. In essence, the temple, embodying the image of the world tree, visually reproduced the ark that the gods in the Sumerian-Akkadian epic about Gilgamesh ordered to build before the Flood.

The idea of ​​a high platform, not only preserving the building during the rise of waters, but also allowing it to be viewed from all sides, determined the main feature of Mesopotamian architecture - the predominance of mass over the interior space.... Its heavy plasticity was softened by the rhythmic relief on the plane of the wall and the colorful decor of multi-colored glazed bricks shining like spotlights.

Ziggurat(from Babylonian word sigguratu- "top", including "top of the mountain") - a multistage religious structure in the ancient Mesopotamia, typical of Sumerian, Assyrian, Babylonian and Elamite architecture. The iconic tiered tower, the ziggurat, had 3-7 tiers in the form of truncated pyramids or brick parallelepipeds.

The prototype of the ziggurat was stepped temples... The first such towers in the form of primitive stepped terraces appeared in the alluvial valleys of the Tigris and Euphrates at the end of the 4th millennium BC. NS. The last noticeable burst of activity in the construction of Mesopotamian ziggurats was attested already in the 6th century BC. e., at the end of the New Babylonian period.

Perhaps this is how the ziggurat looked like in antiquity.

Sumerians built ziggurats in three stages in honor of the supreme trinity of their pantheon - the air god Enlil, the water god Enki and the sky god Anu.

Babylonian ziggurats were already seven-step and painted in the symbolic colors of the planets.

Ziggurat in Ur:

Ur - located at the mouth of the Euphrates.

The Great Ziggurat of Ur(ziggurat Etemenniguru) - the best preserved temple complex of Ancient Mesopotamia. Built in the XXI century BC. NS. (about 2047 BC) in the city of Ur by the local kings Ur-Nammu and Shulga, as well as the sanctuary Ekishnugal, in honor of the lunar deity Nunn. Subsequently, it was rebuilt more than once, was significantly expanded by the New Babylonian king Nabonidus.

The ziggurat in Ur has a base of 64 x 46 m, a height of up to 30 m.

The ziggurat was called to serve not only as a temple, but also as a public institution, archive and royal palace. From its top, the whole city could be contemplated in full view.

The ziggurat was a 20-meter brick building, which was located on platforms of various widths, with a base of 64 by 46 meters, with three floors. The foundation was made of mud bricks, the outer walls were lined with stone slabs.

The entire surface of the building was faced with bricks, which were previously treated with bitumen. Rains and winds destroyed these structures, they were periodically refurbished and restored, so over time they became taller and larger in size, and their design also changed.

Three rises like ladders (a steep central one and two side ones connected at the top) led to the first platform, from where the steps led to a brick superstructure, where the main sanctuary - temple of the moon god Nannar... The upper platform was also used by the priests for observing the stars. Inside the walls supporting the platforms were many rooms where priests and temple workers lived.

The ziggurat is a tower of stacked parallelepipeds or truncated pyramids from 3 for the Sumerians to 7 for the Babylonians who did not have an interior (the exception is the upper volume, in which the sanctuary was located). The terraces of the ziggurat, painted in different colors, were connected by stairs or ramps, the walls were divided into rectangular niches. Inside the walls supporting the platforms (parallelepipeds) were many rooms where priests and temple workers lived.

The superstructure has not survived. The first explorer of the structure, Leonard Woolley, believed that these stairs were planted with trees in ancient times, so that the whole structure would resemble the sacred mountain to the inhabitants of the alluvial plain.

Next to the stepped ziggurat tower there was usually Temple, which was not a prayer building as such, but the dwelling of God. The Sumerians, and after them the Assyrians with the Babylonians, worshiped their gods on the tops of the mountains and, keeping this tradition after moving to the low-lying Mesopotamia, erected mound mountains that connected heaven and earth.

The ziggurat in Ur served as a revered model for the architects of the Ancient Mesopotamia. It is possible that either the Etemenniguru ziggurat itself, or the ziggurat in Babylon built on its model, served as a prototype for the Tower of Babel described in the Bible.

In the later period, the ziggurat was not so much a temple structure as an administrative center, where the administration and archives were located.

Throughout ancient history, ziggurats were renovated and rebuilt, making up the pride of the kings.

State of the art:

In the 20th century, the expedition of Leonard Woolley from the British Museum cleared the ziggurat of centuries-old layers, after which it was partially reconstructed.

At the turn of the 21st century, the monument underwent new tests. Saddam Hussein ordered to recreate the facades of the building and the monumental staircase, thereby distorting its appearance. Currently, the American airbase Ali lies 2 km south-west of the ziggurat. Near the ziggurat are the ruins of the temple of Nebuchadnezzar II. The city closest to the monument is Nasiriya.

Ziggurats have survived in Iraq (in the ancient cities of Borsippe, Babylon, Dur-Sharrukin, all of the 1st millennium BC) and Iran (in the Chogha-Zanbil settlement, 2nd millennium BC).

Tower of Babel

Ziggurat in Ur

Similar information.

Mesopotamia became the oldest post-Flood civilization. It is interesting that the Bible, which contains the richest information about many kingdoms, first tells about Babylon, giving it a large place both in the historical and in the prophetic aspect. As is clear from the Holy Scriptures and the most ancient chronicles, the very first steps in the formation of Mesopotamian statehood were inextricably linked with religion, which was based on an open challenge to the true God, which was most clearly manifested in the construction of the famous Tower of Babel. Today, no one doubts its existence, which has been proven by historians and archaeologists. But before we move on to history, architecture in the religious meaning of its construction, let's pay attention to the creation of special temples-ziggurats, to which the famous tower belonged. So, the ziggurat was a huge structure, consisting of several towers (usually from 4 to 7), located one on one, proportionally decreasing upward. Between the top of the lower tower and the base of the one above, terraces with beautiful gardens were laid out. At the top of the entire building was a sanctuary, to which a huge staircase led, starting at the bottom and having several lateral branches. This upper temple was dedicated to some deity who was considered the patron saint of this city. The towers themselves were painted in different colors: the lower one, as a rule, was black, the second - red, above - white, even higher - blue, etc. The upper tower was often crowned with a golden dome, which was visible many kilometers from the city ... From a distance, this sight was truly fabulous. However, the ziggurat was more than just a temple, it was a link between heaven and earth, as well as a place where God himself allegedly appeared, declaring his will to people through the priests. But if during the day the ziggurat was a temple, then at night it was a place of astrological actions, as well as a place of performance of black satanic rituals. We will never fully learn all the details of the departure of these services, but even the information that the clay tablets tell us is terrifying. It was in the upper temples that astrology was created, connecting people with the abyss. During the excavations, it was found that the name of its founder - Saaben-ben-Aares, however, the true creator of this pseudoscience was, of course, the prince of darkness. Such ziggurats were built in Nippur (about 2100 BC by the king of Ur-Nammu), now it is 40 miles west of the Euphrates; in Uruk, 12 miles from the Euphrates, an area of ​​988 acres; Eridu, erected almost immediately after the flood and renewed many times throughout history, forming 12 temples located one above the other; Ur - also built by the king of Ur-Nammu in honor of the god of the moon Nann, and very well preserved to our time, etc. e. But the most famous was the ziggurat, built in Babylon, at the dawn of post-Flood history, described in the Bible. “There was one language and one dialect throughout the whole earth. Moving from the east, the people found a plain in the land of Shinar and settled there. And they said to each other: let us make bricks and burn them with fire. And they had bricks instead of stones, and earthen pitch instead of lime. And they said, Let us build ourselves a city and a tower, its height reaching to heaven; and let us make a name for ourselves, lest we be scattered over the face of the whole earth. ”- Genesis 11: 1-4. The terrible punishment that befell humanity, which decided to go its own way, independent of God and against His will (the flood), was forgotten. People again chose to live and act without God in order to satisfy their vanity and pride. God could not approve of their proud and insane design, and by mixing languages, prevented the fulfillment of human plans. However, not wishing to humble themselves before the Creator, people again soon began to build a ziggurat at the same place where it had been stopped by God Himself. Jesus Christ never makes violence against human free will, and therefore He did not interfere with this crazy plan of people, wanting them themselves and their descendants to see what their open and stubborn disobedience to Heavenly Father would lead to. With pain, Christ watched how people stubbornly erected a tower, which was supposed to become the center of worship of false gods, in other words, they erected a scaffold for themselves. For that religion, which they so defended and implanted, had to lead them to degradation and death. But the arrogant, intoxicated by the prince of darkness, the builders did not think about it, and, finally, they erected a majestic building that amazed people with its beauty and scope for 1,500 years. The Babylonian ziggurat, rebuilt dozens of times during the specified time, bore the name Etemenanka, that is, the Temple of the Cornerstone of Heaven and Earth, being the center of the colossal temple city of Esagila (House of Raising the Head), surrounded by fortress walls and towers, including many temples and palaces. Esagila was the seat of the chief Babylonian priest, who was at the same time the high priest of the entire world priesthood (this will be discussed below). Descriptions of this tower of the famous Greek historian Herodotus and the personal physician of the Medo-Persian king Artaxerxes II - Ctesias have survived to our time. The tower they described was rebuilt under Nabopolassar (625-605 BC) and Nebuchadnezzar II (605-562 BC). Chr.) After a period of decline. While restoring the tower, Nebuchadnezzar said: "I put my hand to finish building the top of Etemenanka so that it could compete with the sky." So, the tower they built consisted of seven steps - floors. The first floor, 33 meters high, was black and was called the lower temple of Marduk (the supreme god of Babylon), in the center of it stood a statue of a god, completely cast from the purest gold and weighing 23,700 kilograms! In addition, there was a golden table 16 meters long and 5 meters wide, a golden bench and a throne in the temple. Daily sacrifices were performed in front of the statue of Marduk. The red second floor was 18 meters high; the third, fourth, fifth and sixth are 6 meters high and were painted in various bright colors. The last seventh floor, called the upper temple of Marduk, was 15 meters high and faced with turquoise glazed tiles decorated with golden horns. The upper temple was visible many kilometers from the city and in the light of the sun was a spectacle of extraordinary beauty. In this temple there was a bed, an armchair and a table, supposedly intended for the god himself when he came here to rest. There also took place the "sacred" marriage of the king and the priestess, all this was accompanied by an orgy, concluded in the "sublime" philosophy. Today ziggurats lie in ruins, and many have not survived at all, but the ideas of their builders continue to live today. So, firstly, the construction of the ziggurat bore, as we have already said, the character of an open challenge to divine authority. Even the name Etemenanka challenges Christ by taking His title to itself, for the Scripture says: “... behold, I lay in Zion a cornerstone, chosen, precious stone: and those who believe in Him will not be ashamed” (1 Peter 2: 6). This example was followed by many peoples of the earth, building pagan temples and temple complexes going into the clouds. Recently, it is worth noting the construction of the 30s, begun under Stalin (but not completed!), - the Palace of Congresses, which was supposed to be crowned with a figure of Lenin of such a size that in one finger, according to the architects' plan, there would be two libraries and a cinema ... This palace was supposed to become a symbol of militant atheism, supposedly defeating "outdated" Christianity, but the leader, of course, had to appear before the world as the "victor" of Christ! The fate of this idea and the construction started are known. But even unfulfilled, this project is on a par with the Tower of Babel, the Temple of Artemis of Ephesus and other "witnesses" warning us, people of the end of the 20th century, about the danger of a path apart from God. Secondly, the construction of ziggurats was a symbol of human power, a glorification of the human mind. And again, reading the pages of history, we see attempts to glorify and exalt our name at different times and among different rulers - kings, emperors, prime ministers, presidents, secretaries general, philosophers, scientists and artists, etc. go on and on - Cyrus, Nebuchadnezzar, Macedonian, Octavian-Augustus, Nero, Trajan, Charles V of Germany, Napoleon, Lenin, Hitler, Stalin; the philosophers Rousseau, Voltaire, Montesquieu, who idolized the human mind and prepared the Great French Revolution with their ideas; Darwin with his theory of evolution, the ideologists of fascism and communism, who also tried to build heaven on earth without God at the cost of millions of victims. Here, dear reader, we can also be with you, if in our life we ​​rely on our Self, exalt ourselves, and not Jesus Christ. Thirdly, the construction of ziggurats showed that a person can reach the sky on his own, become like God, for the tower connected heaven and earth in the minds of people. This idea is extremely tenacious, because even today many confessions claim that a person can achieve salvation and eternal life on his own by his own deeds and the performance of certain rituals. Fourth, the ministry of the priests in the ziggurat showed that an intermediary was needed between heaven and earth, capable of appeasing the formidable god. It is from here that the teachings about holy mediators between God and people, about clergymen as intercessors before God, originate. However, all these statements contradict the Bible, which states: "For there is one God, and one mediator between God and men ... Christ Jesus" (1 Tim. 2: 5). Fifth, the ziggurat was the center of astrology, magic, occultism, which have found enormous, ever-growing popularity in our time. We will talk about them in detail in another part of this book, but now we will note only the main thing: the very idea underlying astrology, namely the prediction of fate and the ways of influencing it, nullify faith in God. Sixth, the luxurious architecture of the tower and the majestic, mysterious, obscure for ordinary people ministries that went to the temple were intended to bewitch and subjugate the senses and mind of a person, to paralyze his will, to deprive him of the freedom of rational choice. The same technique was used later by almost all world religions in the construction of huge cathedrals with the richest frescoes, statues, paintings, many hours of exhausting services, often in languages ​​incomprehensible to most people. How different this is from the ministry exemplified by Jesus Christ during His earthly life, conducted in the bosom of nature, in humble homes! So, as we can see, the ideas of the ancient ziggurats continue to live today. No wonder in the Bible, one of the prophecies of which we partially resulted in the epigraph to this chapter, the apostate forces are called Babylon

culture ancient mesopotamia architecture

As is clear from the Holy Scriptures and the most ancient chronicles, the very first steps in the formation of Mesopotamian statehood were inextricably linked with religion, which was based on an open challenge to the true God, which was most clearly manifested in the construction of the famous Tower of Babel. Today, no one doubts its existence, which has been proven by historians and archaeologists. This famous tower belonged to a special type of temples - ziggurats. The mention of ziggurats is found in the inscriptions of the beginning of the third millennium BC. v. It has been argued that the ziggurat was created by the Sumerians who came from the mountainous regions where they were earlier, and is, as it were, a reproduction of the mountains, from the tops of which astrological observations were usually carried out.

Zigguramt (from the Babylonian word sigguratu - top, including the top of the mountain) is a cult building in the ancient Mesopotamia.

So, the ziggurat was a huge structure, consisting of several towers (usually from 4 to 7), located one on one, proportionally decreasing upward. Between the top of the lower tower and the base of the one above, terraces with beautiful gardens were laid out. At the top of the entire building was a sanctuary, to which a huge staircase led, starting at the bottom and having several lateral branches. A sloping ramp is deployed on the sides of the massif, which during construction, without resorting to scaffolding, allowed building materials to be lifted up and opened access to the upper platform, on which the main sanctuary was located. The walls at the ramps were decorated with headquarters and battlements.

This upper temple was dedicated to some deity who was considered the patron saint of this city. The towers themselves were painted in different colors: the lower one was usually black, the second red, higher white, even higher blue, etc. The upper tower was often crowned with a golden dome, which was visible many kilometers from the city.

Near the stepped ziggurat tower, there was usually a temple, which was not a prayer building as such, but the dwelling of God. The Sumerians, and after them the Assyrians with the Babylonians, worshiped their gods on the tops of the mountains and, preserving this tradition after moving to the low-lying two rivers, they erected mound mountains that connected heaven and earth. The material for the construction of the ziggurats was raw brick, additionally reinforced with layers of reed, and faced with fired bricks on the outside. Rains and winds destroyed these structures, they were periodically refurbished and restored, so over time they became taller and larger in size, and their design also changed.

The Sumerians built them in three stages in honor of the supreme trinity of their pantheon, the air god Enlil, the water god Enki and the sky god Anu. The Babylonian ziggurats were already seven-step and were painted in the symbolic colors of the planets (five planets were known in ancient Babylon), black (Saturn, Ninurta), white (Mercury, Nabu), purple (Venus, Ishtar), blue (Jupiter, Marduk), bright -red (Mars, Nergal), silver (Moon, Sin) and gold (Sun, Shamash)

The first such towers in the form of primitive stepped terraces appeared in the alluvial valleys of the Tigris and Euphrates at the end of the 4th millennium BC. NS. The last noticeable burst of activity in the construction of Mesopotamian ziggurats was attested already in the 6th century BC. e., at the end of the New Babylonian period. Throughout ancient history, ziggurats were renovated and rebuilt, making up the pride of the kings.

The Babylonian ziggurat, rebuilt dozens of times, bore the name Etemenanka, that is, the Temple of the Cornerstone of Heaven and Earth, being the center of the colossal temple city of Esagila (House of Raising the Head), surrounded by fortress walls and towers, including many temples and palaces. Esagila was the seat of the chief Babylonian priest, who was at the same time the high priest of the entire world priesthood. Descriptions of this tower of the famous Greek historian Herodotus and the personal physician of the Medo-Persian king Artaxerxes the Second Ctesias have survived to our time. The tower they described was rebuilt under Nabopolassar (625-605 BC) and Nebuchadnezzar II (605-562 BC) after a period of decline. While restoring the tower, Nebuchadnezzar said: "I put my hand to finish building the top of Etemenanka so that it could compete with the sky." So, the tower they built consisted of seven storey steps. The first floor, 33 meters high, was black and was called the lower temple of Marduk (the supreme god of Babylon), in the center of it stood a statue of a god, completely cast from the purest gold and weighing 23,700 kilograms! In addition, there was a golden table 16 meters long and 5 meters wide, a golden bench and a throne in the temple. Daily sacrifices were performed in front of the statue of Marduk. The red second floor was 18 meters high; the third, fourth, fifth and sixth are 6 meters high and were painted in various bright colors. The last seventh floor, called the upper temple of Marduk, was 15 meters high and faced with turquoise glazed tiles decorated with golden horns. The upper temple was visible many kilometers from the city and in the light of the sun was a spectacle of extraordinary beauty. In this temple there was a bed, an armchair and a table, supposedly intended for the god himself when he came here to rest. There also took place the "sacred" marriage of the king and the priestess, all this was accompanied by an orgy, concluded in the "sublime" philosophy.

However, the ziggurat has always been something more than just a temple, it was a link between heaven and earth, as well as a place where God himself allegedly appeared, declaring his will to people through the priests. But if during the day the ziggurat was a temple, then at night it was a place of astrological actions, as well as a place of performance of black satanic rites. Humanity will never fully learn all the details of the administration of these services, but even the information provided by the clay tablets is terrifying.

It was in the upper temples that astrology was created, connecting people with the abyss. During the excavations, it was found that the name of its founder is Saaben-ben-Aares, although many believe that the true creator of this pseudoscience was the prince of darkness. Such ziggurats were built at Nippur (about 2100 BC by King Ur-Nammu), now 40 miles west of the Euphrates; in Uruk, 12 miles from the Euphrates, an area of ​​988 acres; Eridu, erected almost immediately after the flood and renewed many times throughout history, forming 12 temples located one above the other; Ur was also built by the king of Ur-Nammu in honor of the god of the moon Nann, and is very well preserved to our time, etc.

Why does Lenin's Mausoleum look like a ziggurat and why are Shinto shrines dismantled every 20 years in order to build in a new place? The Theories and Practices continue with the Enlightener Prize with an excerpt from Sergei Kavtaradze's Anatomy of Architecture, in which he talks about the early architecture of Mesopotamia, Ancient Egypt, Japan and Islamic countries.

Mesopotamia

Architectural structures, as we know, were built already in primitive times: simple huts, primitive huts, as well as megaliths - menhirs, dolmens and cromlechs. However, the history of architecture as an art, when added to the net benefit something else, some kind of additional meaning and striving for beauty, began much later, although also very long ago, several millennia ago. It was then in the fertile valleys of the great rivers - the Nile, Indus, Tigris and Euphrates - that the first state formations were born. On our planet, there are easily rivers longer and wider, but they are unlikely to be able to surpass these four in importance in the development of civilization. Their fertile shores gave abundant harvests, which allowed some of the inhabitants to break away from the daily care of food and become warriors or priests, scientists or poets, skilled artisans or builders, that is, to form a complex social structure, in other words, the state. The earliest of these states appeared on a narrow strip of land between the channels of two rivers, the Tigris and the Euphrates, which is called Mesopotamia or Mesopotamia. [...]

Of course, the peoples, whose states, replacing each other, dominated in Mesopotamia - first the Sumerians, then the Akkadians, then the Sumerians again ("Sumerian Renaissance"), and then the Babylonians, Assyrians and Persians - built many grandiose buildings in their capitals. Not a single large city could do without royal palaces and temples to the ancient gods. The remains of their vast labyrinths are being carefully examined by archaeologists. However, it is difficult for architectural historians to work on this material, only the foundations remain of the adobe buildings, and it is possible to speak about their artistic language only on the basis of plans.

The great ziggurat at Ur. Iraq. OK. 2047 BC © rasoulali / iStock

A huge stepped structure was erected in the city of Ur by the local kings Ur-Nammu and Shulga in honor of the lunar deity Nanna. The ziggurat was "restored" under Saddam Hussein, with approximately the same degree of respect for the original as was the case with the Tsaritsyno palace complex in Moscow.

However, one type of structure was not so badly preserved and, moreover, still retains its influence on the art of architecture. Of course, this is a ziggurat - a stepped pyramid with a temple on top. In fact, a ziggurat is a pure "mass", an artificial mountain made of mud bricks, lined with fired bricks. By design, it is also a mountain, only sacredly much more significant than its natural relatives. If you live on a flat earth under the dome of the sky, then sooner or later the thought will appear that somewhere there is a vertical linking the earthly world with the heavenly world. The axis of the world, the Tree of Life or the World Mountain. [...] If there is no such vertical - a mountain or a tree - nearby, but there are resources of a powerful state, it can be built. Actually, the biblical story about the Tower of Babel, the construction of which led to the emergence of language barriers, is not at all metaphorical to the extent that it might seem to a modern person. The ziggurat, including the later, Babylonian, really led to heaven, of which there were several at once - three or seven. Each tier of the building was painted in its own color and corresponded to a certain firmament, planet or luminary, as well as metal. At the top, a temple was installed - the house of the god, and at the foot and sometimes on the steps themselves, the dwellings of the priests and warehouses for offerings were built. As we can see, even thousands of years ago architecture felt itself not only as applied, but also as “fine” art, it was a vertical connecting the sky with the earth. Questions of "pure beauty", abstracted from the semantic content, were also not forgotten by the ancient architects. The walls of the ziggurats were not only faced with fired glazed bricks and then painted, but were also segmented with volumetric niches and shoulder blades, which made the surfaces clearly rhythmic.

Ziggurat of Etemenanki in Babylon. Iraq. Architect Aradahheshu. Mid-7th century BC © Dr. Robert Kolderwey

According to scientists, the Etemenanki ziggurat is the very biblical Tower of Babel, because of the history with which we are forced to learn foreign languages. Reconstruction by the eminent German archaeologist Robert Calderway, who discovered the location of ancient Babylon.

The compositional solution found in ancient Mesopotamia turned out to be very convincing. Since then, the pathos of the “staircase to heaven” has not ceased to be found in a variety of religious buildings around the world, including in those cases when atheism becomes a religion.

Pieter Bruegel the Elder. Tower of Babel. Oil on wood. 1563 Kunsthistorisches Museum, Vienna

Pieter Bruegel painted the Tower of Babel more than once, and each time he represented it as a stepped structure.

The concept (of the Palace of Soviets. - SK) is very simple. This is a tower - but, of course, not a tower that rises vertically, for such a tower is technically difficult to build and difficult to dismember. This is a tower, to a certain extent, of the type of Babylonian towers, as we are told about them: a stepped tower of several tiers ... This is a bold and strong stepped aspiration, not an ascent to the sky with a prayer, but rather, indeed, an assault on the heights from below. (A. V. Lunacharsky. Socialist architectural monument // Lunacharsky A. V. Articles about art. M .; L .: State Publishing House "Art", 1941. S. 629-630.)

Pyramid of Kukulkan. Chichen Itza, Mexico Presumably the 7th century © tommasolizzul / iStock

The Pyramid of Kukulkan is located among the ruins of the ancient Mayan city of Chichen Itza. The structure combines the features of a ziggurat and a pyramid. On the one hand, it is an artificial mountain, connecting the earth and the sky with nine steps. At the top, like the Mesopotamian ziggurats, there is a temple. On the other hand, this structure has internal secret rooms, which makes it similar to the Egyptian counterparts. The pyramid of Kukulkan quite accurately played the role of a huge stone calendar. For example, each of the four stairs leading to the temple consists of 91 steps, that is, together with the upper platform, there are 365 of them - according to the number of days in a year. This building can also be considered the world's first cinema, however, with a monotonous repertoire: on the days of the spring and autumn equinox, the stepped edges of the pyramid cast a jagged shadow on the side walls of the stairs, and as the Sun moves, this shadow crawls along the parapet like a snake.

Mausoleum of V.I. Lenin. Moscow, Russia. Architect A.V. Shchusev. 1924-1930 © Maxim Khlopov / Wikimedia Commons / CC 4.0

Form of the Mausoleum of V.I. Lenin in Moscow undoubtedly goes back to the ziggurats.

Ancient Egypt

Not so far from Mesopotamia, in North Africa, at about the same time, another great civilization appeared - the ancient Egyptian. It is also marked by the construction of grandiose structures very similar to ziggurats - pyramids, but, unlike their Mesopotamian counterparts, the material here was often not mud brick, but stone. The earliest of these buildings were also stepped: Egyptian architects did not immediately find the ideal shape with smooth edges, so close to the modernist tastes of the twentieth century. The main thing is that not only the form and material, but also the meaning of these artificial mountains, towering in the sands of Egypt, was completely different from that of the giant buildings of Mesopotamia. The pyramid is, first of all, a tombstone. Actually, the idea of ​​a composition tapering upwards was born in Egypt, when several flat stone tombs were placed on top of one another (the Arabs - now the main population of this country - call them "mastaba", that is, "bench"). Such tombs, hiding burial chambers under them, were built in the deserts along the banks of the Nile long before the appearance of huge stone structures, therefore, the pyramid, which it turned out from the Egyptian architects, despite the outward resemblance and impressive size, can hardly be considered a man-made World Mountain, although with she is, of course, bound by the sky. At least, its edges, as a rule, are quite accurately oriented to the cardinal points, and one of the inclined inner corridors is parallel to the earth's axis. There is even a bold hypothesis, according to which the pyramids at Giza in the mirror image are located in the same way as the stars of Orion's belt. It turns out that the Egyptians did not manage to build at least four more large pyramids in order to fully reproduce this beautiful constellation.

Still, the main theme of ancient Egyptian architecture is not the sky, but the afterlife. The Egyptians took their fate very seriously after death. At the moment of passing away from life, a person seemed to understand into its component parts: into spirit and soul, shadow and physical body, into name and strength ... Pharaoh and his entourage also relied on a spiritual double - Ka, the rest just got along with a soul - Ba. In order to reconnect with the rest of the parts, the soul alone had to go through numerous trials on a journey through the afterlife, and then appear before the judgment of the formidable Osiris and prove that its owner did not commit any of 42 sinful acts. On special scales, the gods weighed the heart of the deceased. If, burdened with sins, it outweighed the feather from the headdress of the goddess Maat, personifying the truth, then it was sent into the mouth of a terrible crocodile, which deprived the former owner of the chance of rebirth.

Pyramid of Pharaoh Djoser in Saqqara. Egypt. Architect Imhotep. OK. 2650 BC © quintanilla / iStock

The first ancient Egyptian pyramid was six-step. In fact, these are mastaba tombs stacked on top of each other. This is how the idea of ​​using pyramidal shapes for burial structures was born.

The one who was acquitted by the court reunited all his parts in himself and in full set went to the country of eternal bliss. Do not think that the theme of death made ancient Egyptian art somehow gloomy. The departure from life was perceived simply as resettlement and continued existence in different conditions, and not as a terrible end. […]

Burial temple of Mentuhotep II in the necropolis of Thebes. XXI century BC Reconstruction by Edouard Naville and Clark Somers © Naville - deir el bahari, part II, 1910, Naville / Wikipedia

From the architecture of the Middle Kingdom, little has survived to this day.

Another world in the ideas of the ancient Egyptians was always present next to them, as if right there, only in another dimension. However, there were few points of contact between the two worlds - the earthly and the afterlife. And where such points were found, sacred cities and, consequently, temples were built. Like the pyramids, temples became the face of Egyptian architecture. However, one should not forget that between the two types of buildings lies a whole temporary gap - about a thousand years. It is as if we combined in one story about the history of Russian architecture the Sophia Cathedrals in Kiev and Novgorod and the skyscrapers "Moscow City".

Temple of Amun Ra. Luxor, Egypt. Construction began in 1400 BC. © Marc Ryckaert (MJJR) / Wikipedia

Thebes (the Egyptians said Waset) - the capital of the Upper, and then the whole of Egypt - was located approximately where the city of Luxor is now located. On its territory or near it there are several significant monuments, in particular the Luxor and Karnak temples connected to it by the grandiose alley of sphinxes, as well as the memorial temple of Queen Hatshepsut.

The Egyptian temple is in many ways similar to the European one we are accustomed to. With some degree of convention, it can even be called a basilica. Like an ordinary basilica, it is oriented along the main axis, and the most sacred zone is located farthest from the entrance. We often use the expression "the road to the temple." It became especially relevant after the premiere of Tengiz Abuladze's film "Repentance", where the incomparable Veriko Andjaparidze utters the famous phrase: "What is the road to if it does not lead to the temple?" The Egyptians also took this issue seriously. They had not just straight solemn paths leading to the sacred buildings, but whole alleys of hundreds of sphinxes - sometimes with ram heads, and sometimes with human heads - lined up like a guard of honor. Under their gaze, the visitor approached pylons- towers tapering upward, decorated with sacred inscriptions and reliefs. (The term "pylon" has several meanings: it is a tower, and just a pillar, a support; however, everything that is called a pylon is usually rectangular in plan.) Pylons accurately indicated the border beyond which everything earthly and momentary remained. Egyptologists believe that the twin towers symbolize mountains: behind them the sun leaves and behind them the earth meets the sky. Behind the columns was located peristyle- the courtyard of the temple surrounded by columns. Isn't it like the composition of the early Christian basilica? Followed by hypostyle(from the Greek ὑπόστυλος - supported by columns), that is, a huge hall with many closely spaced round supports, stone lotuses, papyri and palms.

Temple of Queen Hatshepsut. Deir el-Bahri, Egypt. Architect Senmut. First quarter of the 15th century BC © Arsty / iStock

The funeral temple of the queen-pharaoh Hatshepsut took nine years to build. The structure in general imitates the nearby burial temple of the Middle Kingdom Pharaoh Mentuhotep II, but surpasses it both in size and in perfect proportions.

The chain of halls strung on the main axis could be very long. In one of them, a ritual boat was kept - a means of transportation around the afterlife, necessary for both the gods and the souls of deceased people. The columns supported ceilings painted in the color of the night sky and decorated with images of stars, planets and sacred birds. The further from the entrance the next hall was located, the fewer people had access to it. It all ended in the same way as later among the Jews and Christians - the most sacred place, the Holy of Holies. True, the Egyptians did not come up with the idea of ​​sacred emptiness or the storage of sacred texts. Honors were traditionally given to the statue of the god to whom the temple was dedicated. Every morning, the pharaoh or priest washed and decorated the sculpture, after which the doors to the sanctuary were solemnly closed for a day. To a certain extent, the Egyptian temple was not only a "portal" to the Other World, but also a "guide" through it, telling mortals what awaits them after the inevitable end.

Shintoism

We can say that Mesopotamian and ancient Egyptian architecture speaks to us in foreign, but quite understandable languages. Everything is much more complicated if we turn to the architecture of the East, which is closer to us chronologically, but less understandable. Let's start, by contrast, with one of the most distant - both geographically and culturally - phenomena, namely the Japanese architecture of the Shinto religion. [...]

There is something in common that unites most of the architectural monuments of the planet, from the Babylonian ziggurats and Egyptian pyramids to the skyscrapers of modern capital centers, - this is the desire to bring order to the world given to us by nature. This approach developed in ancient times, when it was believed that the world was created correctly by God or gods, but then it deteriorated. The reasons were different: the destructive influence of time, the sins of mankind, or the machinations of the demons of chaos, but the conclusion was always the same: the Golden Age remained in the past. Therefore, any construction was understood as the restoration of the lost order (sometimes, of course, as the construction of an order hitherto unprecedented, as, for example, in the Soviet era). Architecture is designed to streamline chaos. European architects, of course, do not think about it every second, but this idea has been rooted in the subconscious for millennia. A person who works differently, striving for agreement with what has already been given by nature, perceives himself as a rebel, at least separates himself from his colleagues, asserts, for example, that he is not just an architect, like everyone else, but an environmental architect.

The Japanese architects, before the arrival of Buddhism on the islands, at least, simply could not think of opposing themselves to nature and putting things in order in it. For them, only harmonious inclusion in the existing order of things is permissible. According to the ideas of Shintoists, the world is one and everything in it, without any breaks, is permeated with divine energy. tama(or, literally, the soul), which is everywhere and in everything. It looks like an electromagnetic field in physics, only it behaves a little differently. Tama is able to thicken, concentrating its power. If such concentration occurs inside an object or living being, then such an object or such a being becomes a god. Similar deities - kami- can appear to us in the familiar form of a person-god, such as, for example, the sun goddess Amaterasu, but they can also become just a natural object, say, a cliff or a source. Moreover, we are not talking about the European spirits of the place that live somewhere nearby (we will talk about them later), namely, that the beautiful rock, in which the tama thickened, itself becomes a deity, or rather, the body of a deity. But how did the inexperienced Japanese peasants distinguish between where is just a cliff, and where is a cliff, which should be honored like a god? It was here that the nation's inherent sense of beauty came to the rescue. Kami can only be recognized in an object by the power of collective spontaneous intuition. Since the place is beautiful and somehow attracts the villagers, it means that tama has thickened in it. From this it follows that it must be fenced off (preferably with a straw rope) and made cannabi- a zone of special sacred purity and ritualized behavior. Community celebrations with special dances, sumo wrestling and tug-of-the-rope will be held in the vicinity of such an area in honor of the kami. Spirits are called for help not only by prayers. More precisely, there are no prayers as such, instead there are magic rituals. So, stomping, "shaking the earth" (it can be seen in dances and tournaments of giants-sumo wrestlers) is an ancient way to stir up tama and wake up kami.

Shinto shrines that appear in sacred territories always seem to grow out of nature itself. Such architecture can in no way be a "crystal" brought in from the outside, but only an organic addition to nature itself. Accordingly, the beauty of the building should be special. From materials, wood, straw, bark of Japanese cypress are welcome. The now fashionable rounding of logs would seem like blasphemy. The type of buildings was borrowed from Korea, but there, granaries-granaries protected from moisture and tailed robbers were built on the pillars, and here the pillars rising from the ground are a symbol of organic origin, not "standing", but "growing" of the building.

Ise-jingu is the main Shinto shrine. It is assumed that the imperial regalia are kept here - a mirror, a sword and jasper pendants (or at least one of them is a bronze mirror). The goddess Amaterasu personally passed them on to her descendants - the founders of the first imperial dynasty. According to the official chronology, the complex has existed since the 4th century BC. In the name of observance of ritual cleanliness, wooden structures are dismantled every 20 years and reproduced on a reserve site. And so for 1300 years. The circular piles on which the building is raised above the ground and the open circular gallery are indicative of borrowings from the humid regions of Korea, where similar structures were used as granaries. The area around the buildings is absolutely forbidden for believers to visit.

Another custom confirms that a Shinto shrine is thought of as something living. The life of such a building has its own rhythm, just as we have the rhythm of steps or breathing. Every 20 years, the building is dismantled and recreated on a reserve site. After another 20 years, it returns to its original place. Without this technique, wooden structures would hardly have come down to us in centuries. In Europe, by the way, there is a similar practice. Half-timbered at home, the very ones that captivate us in the illustrations for Andersen's fairy tales (wooden beams make up a frame filled with light materials), were also disassembled and recreated anew, only much less often - once every several centuries. But Shinto temples are being rebuilt for more than just physical preservation. Ritual purity is an important condition for successful interaction with kami. The body of a kami (and this can be not only a natural object, but also, for example, a round mirror - a symbol of the Sun and xingtai(the receptacle of the spirit) of the goddess Amaterasu) must be carefully protected from desecration, therefore, unlike the temples of the Abrahamic religions, no one can enter the Holy of Holies of Shinto shrines ever, including a clergyman. Time still has power and even in Japan spoils the creations of human hands. The shrine is polluted by the views of the parishioners, and especially death, therefore it was necessary to change the location of the building every 20 years: during this period, most likely, at least one supreme ruler died, desecrating the perfect purity of the temple territory with his death.

Islam

[...] Almost all Muslim architecture, except for those cases when it developed under the direct influence of Byzantine prototypes, avoids even a hint of "fleshiness", any indication that an inert material is hidden behind the visible surface of the wall - stone, brick or concrete. Islamic buildings, of course, are three-dimensional, but both the outer volumes and the boundaries of the inner spaces seem to be formed by flat surfaces that have no thickness, they look like simply bizarre ornamentation or sacred letters, impeccably applied on the thinnest facets of disembodied crystals. Most of all, it looks like ideal constructions in geometry, where a point has no diameter, and a plane has no volume.

At the same time, Islamic architecture feels free from tectonic logic, the laws of which to one degree or another obey both Christian architects and Hindus and Buddhist builders. The parts being carried are "weightless" here, they do not put pressure on anything, due to which there is no need for the carriers to demonstrate their power: where there is no mass, there is no weight either.

At the end of the 15th century, under the onslaught of Christian troops, the Arabs were forced to leave the territory of Europe. Thus ended the Reconquista - a long process of "recapture" from the Muslims of the Iberian Peninsula. However, in the lands of Spain, especially in Andalusia, there are remarkable monuments of Islamic culture. The Alhambra, the seat of the rulers of the Emirate of Granada, is a fortress with a huge palace and park complex inside. The name comes from the Arabic Qasr al-Hamra (Red Castle). The main structures were erected between 1230 and 1492.

Of course, all this is not accidental. Undoubtedly, the art of Islam would look different if God chose a prophet who speaks a different language. Historically, Arabs were nomads. Not only cattle breeding, but also trade in those days meant long journeys: I bought goods on one end of the desert, loaded them onto camels and, after weeks of difficult journey, profitably sold them wholesale or retail on the other side of the sandy sea. The inconstancy and mobility of the nomadic way of life left a special imprint on the perception of the world and, as a result, on the language of the Arabs. If sedentary peoples think primarily of objects, then the ethnos in question took the first place in actions, therefore, most of the words of the Arabic language do not come from nouns, but from verbal roots, while the sound image of the word dominates the visual one. A kind of "lexical constructor" has formed from consonants, most often three, the use of which in different combinations can form both related and opposite words. For example, the root PXM (we can easily hear it in the famous prayer formula "Bi-media-Llbyahi-rrahmbani-r-rahbim"- "In the name of God, the Most Merciful, the Most Merciful") means "to be merciful", "to take pity on someone." At the same time, the XPM root has the opposite meaning: “prohibit”, “make inaccessible”. By the way, the “native Russian” word “terem” comes from the same “haram” (“ban”) and means harem, the forbidden female half of the house.

It goes without saying that these features of the language were reflected in writing. For most peoples, not only hieroglyphs, but also the letters of the phonetic alphabet come from schematized images of objects or actions. For the Arabs, from the very beginning, letters meant only sounds, the image of the material world is not behind them. This is noticeable if you just look at the samples of Arabic calligraphy. […]

Page from the Koran with verses 27-28 Sura 48 - "Al Fath" ("Victory"). Parchment, ink, pigment. North Africa or the Middle East. VIII – IX centuries. Freer and Sackler galleries. Smithsonian Museums. Asian art collection. Washington, USA

A sample of early, Kufic writing from the Abbasid dynasty. The letters, elongated from right to left, seem to try to convey the melody of Arabic speech.

Apart from the books of the Koran, the only man-made object required for worship by Muslims is the Kaaba temple. All other structures, like other works of art, only help prayer by organizing a special space and creating an appropriate mood. However, they are not shrines in the usual sense. Muslims have neither idols, nor icons, nor miraculous relics (sometimes, however, the tombs of saints are revered, but this is more a manifestation of respect for the memory of the righteous than the expectation of heavenly intercession).

The absence of the idea of ​​a “special” holiness of a building, at least to the extent that Christians are used to it, also frees from special stylistic differences between residential buildings and places of prayer - a similar decor can be used both in a mosque and, say, in harem. In some countries, for example in Egypt, this made it possible to form a special type of urban development complex - couliye, united ensembles, simultaneously including a mosque, and a school, and a hospital, and a dormitory for dervishes.

However, how to convey the idea of ​​the unity of the Universe, that is, evidence that the world was created by one Creator, if this world is forbidden to be portrayed? In this case, the cultural heritage of ancestors, nomads and pastoralists came to the aid of Islamic, primarily Arab, creators. Two craft skills, familiar primarily to nomadic peoples, formed the basis (consciously or subconsciously) of one of the main distinctive features of Islamic art - the desire to decorate surfaces with bizarre ornaments.

First, it is carpet weaving. The decoration of the carpet, especially the simple nomadic carpet used as the floor, walls and ceiling of easily erected tents and tents, is plane and symmetrical in nature. The product, the surface of which "falls" into the perspective of a realistic image, is a perversion, only to a small extent forgivable in late European tapestries. The carpet used for its intended purpose is the border between the inner protected space of the dwelling and the elements of the outside world, between comfort (albeit a temporary one, but a refuge) and the bare steppe land. Therefore, the carpet should be flat, not only physically, but also ornamental.

Secondly, it is the art of weaving leather: straps and lashes, belts and horse harness ... For thousands of years, cattle breeders have been practicing knitting knots, plaits and flat decorative overlays of leather ribbons.

It was these skills that helped in the creation of delightfully complex ornaments, completely, almost without gaps, covering the walls of Islamic buildings. In fact, we Europeans usually look at such a decor incorrectly, when, admiring it, we try to grasp the whole composition with a glance and place it in our minds at once, to get a holistic impression. In fact, you need to take your time and tastefully follow the endless journey of each ribbon or each sprout decorated with leaves. So, without taking our eyes off a series of interweaving, covering the entire decorated surface and “stitching” the entire work, even a grandiose building, into a single whole, we, in essence, see an ideal illustration of Plato's theory of the One, of the universe, permeated with the inseparable threads of the Creator's plan.

It must be said that with all the infinite diversity, the world of Islamic ornament can be divided into two main groups. The first will include purely geometric motifs, in the creation of which, no matter how complex they may seem, the simplest tools familiar to every schoolchild take part - a compass and a ruler. In the second, those that are called vegetative, that is, endless interweaving of liana-like branches with leaves and flowers of any shape, size and biological species. This second type, often found in European art, is called arabesque, which directly indicates its historical roots. [...]

The Wazir Khan Mosque was built during the reign of the Mughal emperor Shah Jahan, who ordered the creation of the famous Taj Mahal. The niche is covered with a keeled arch characteristic of Islamic architecture. The font of the inscription demonstrates a departure from the Arabic canons under the Persian and Turkic influences.

It is well known that Islamic architecture has created a great variety of vaulted forms, which undoubtedly already existed in Umayyad architecture, two of which are the most typical. It is a horseshoe arch, most fully expressed in the art of the Maghreb, and the "keeled" arch is a typical example of Persian art. Both of them combine two qualities: static calmness and upward lightness. The Persian arch is both noble and light; it grows almost effortlessly, like the quiet flame of a lamp, sheltered from the wind. And, on the contrary, the Maghreb arch is striking in its breadth of scope: it is often held back by a rectangular frame in order to create a synthesis of stability and abundant fullness.

Titus Burckhardt... The art of Islam. Language and meaning.
Taganrog: Irbi, 2009.S. 41.

Of course, the traditions of Muslim art do not come only from the Arab heritage. Each of the peoples who converted to Islam has woven their threads into the common basis of this motley "carpet". For example, the Persians imposed on the rigorism of Muhammad's tribesmen an oriental bliss and refined ideas of supreme bliss. In the East, they say that Arabic is the language of God, and Farsi (Persian) is the language of paradise. It is in Persian miniatures and in sacred texts performed by Iranian calligraphers that plant ornaments finally leave dry geometrism and, it seems, are ready to compete with celestial prototypes with their sophisticated perfection. It is worth noting the specific contribution of the Persians to the history of architecture. Since in the Middle Ages Iranian architects used only bricks and, therefore, they did not use post-and-beam structures, the skill in the construction of arches, vaults, domes and their intricate combinations received a tremendous impetus to development at that time.

The peoples with Turkic and Mongolian blood and their combinations also took part in the multiplication of Islamic art forms. For example, if you turn to calligraphy, which is also present on the walls of architectural structures, you will notice not only patterns lined up along a virtual horizontal line. Often, sacred texts are inscribed in intricate medallions that resemble rounded flames. This is the influence of another ornamental culture that came from Central Asia, from India and from the Tibetan mountains.

The Turkic tribes, having finally conquered Byzantium and turning Constantinople into Istanbul, began, as soon as they settled down in a new place, to build mosques in the previously Christian territories. However, instead of following the traditional Arab patterns, mainly “creeping” on the ground and not striving for the sky, a new type of “bowing place” was created, imitating the already well-known temple of Hagia Sophia, but adapted to the needs of the Muslim cult.

Architect Mimar Sinan (probably he is depicted on the left) is in charge of the construction of the tomb of Suleiman I the Great. Illustration by Seyyid Lokman for The Chronicles of Sultan Suleiman (Zafernam). 1579 Wikipedia

Let us recall that from the time when the Prophet Muhammad, being in “emigration” in Medina, used the courtyard where his family's dwellings went for collective prayer, any mosque should include several obligatory elements. This is, first of all, a covered, shaded space (originally, in the Mosque of the Prophet, a simple canopy), one of the walls of which (the Qibla wall) faces Mecca. In the center of such a wall there is a sacred niche - a mihrab (at one time there could be just a door in this place). Symbolically, it designates both the "cave of the world" and the niche for the lamp, carrying light, but not simple, but of Divine revelation. In cathedral mosques, next to the mihrab is located minbar- a cross between a throne (sometimes under a canopy) and a staircase of several steps. Once upon a time, the Prophet himself introduced the custom of preaching sitting on the steps of a small staircase, as if today one of us sat down on a stepladder during a conversation. By the way, this event is associated with a touching story related to one architectural detail. Before using the ladder, the Prophet, according to the custom of herdsmen and herders, spoke on a staff made of palm wood. Later, which turned out to be unnecessary for the owner, the staff yearned and, in consolation, was walled up in one of the columns of the Medina mosque, where, as it is believed, is located to this day, revered by pious pilgrims. This is how the famous expression “the palm tree yearning for the Prophet” was born.

We remember how, entering the newly built magnificent temple, the emperor Justinian exclaimed: "Solomon, I have surpassed you!" Now, after the fall of Christian Constantinople, the time has come for Turkish architects to compete with the builders of Hagia Sophia.

At the same time, they attempted to add elements that are required for a mosque to the ensemble. The main building apparently took on a role zullahs- a shaded space, so it remained to attach to it galleries of the courtyard with wells for ritual ablutions and surround minarets... In ancient times, when minarets did not yet exist, their functions were performed by ordinary elevations: nearby rocks or roofs of high houses, from where the muezzin could call the parishioners to prayer. Later, towers of various shapes and proportions appeared. Turkish minarets - slender and sharpened like well-sharpened pencils - added new meaning to the Byzantine domes of Istanbul mosques. The passion of prayer turned to heaven is harmoniously combined with worthy obedience to God's will, expressed by the perfect volumes of huge domes. [...]

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VIL's Satanic Altar

One of the main results of the Russian March was the patriots' awareness of the situation in which we now live: Russia is occupied; the occupation "constitution" - a filkin letter, which can be formatted with a stroke of a pen by any of the puppets sitting at the top; the Russians have no army; there is no single national organization capable of returning power to the Russians; there are no special hopes for a quick victory either. The question arises: what to do?

Patriots try to answer it in different ways, often voicing other people's prompted words. Some arrange a “prayer stand”, others gather a society of zealous persecutors of pederasty, others run around the city with a piece of reinforcement, others throw mayonnaise at someone, and the fifth drive away liberal grandmothers who have gone out of their minds. The result of this activity is obvious. When we try to criticize her, they scold us, they say, let's do at least something. What?

As the ancient Chinese wisely said, the path of a thousand li begins with one step.

The Russians are separated from OUR DAY not by a thousand, but by a much smaller distance, but this does not negate the need for the first step. Our the first step is to remove the body from the ziggurat in Red Square... Below we will explain in detail the magical side of this action, which knocks out the occult foundation from the existing regime in Russia, but first of all it is important to understand the practical essence of this step.

It begins with the fact that, having familiarized themselves with the proposed material, the nationalists should begin preparations for the removal of the body, which should strive to be carried out in April, on the day when Blank (Ulyanov) appeared, or perhaps this should be done on the anniversary of the day the body was loaded into the ziggurat ( here are the reasons for the Russian Marches). In the course of preparing and implementing the task, we, on the one hand, will unite nationalists around a clearly defined vector of actions, which will become the basis for the future united Russian national liberation organization, on the other hand, we will identify all the enemies of the Russian people who will definitely show themselves: either, by starting to protest against the removal of the body, or by refusing to support this intention. Everything will become simple and clear and the wonderful logical formula "Who is not with us is against us!" will once again demonstrate its revelatory effectiveness. Well, if this power resists the removal of the body, under any pretext, so much the better for the struggle - its satanic foundation will be clearly and mercilessly revealed. After all, the struggle is still going on only for the minds and souls, for the insight of our people, and if we win it, then we have already won.

Ziggurat (ziggurat, ziggurat): in the architecture of Ancient Mesopotamia, the iconic tiered tower. Ziggurats had 3-7 tiers in the form of truncated pyramids or parallelepipeds of raw brick, connected by stairs and gentle slopes - ramps (Dictionary of architectural terms)

Bloody Square. She is wearing Ziggurat.
It has come to pass. I'm close. Well, I'm glad.
I descend into a fetid, terrible maw.
It is easy to fall on slippery steps.
Here is the stinking heart of ancient evil,
Bodies that eats souls to the ground.
A hundred-year-old beast made its nest here.
The door is wide open here for demons in Russia.
Nikolay Fedorov

The architectural ensemble of Red Square has evolved over the centuries. Kings succeeded each other. The walls of the citadel replaced each other - first wooden, then white-stone, finally, brick, as we see them now. Fortress towers were erected and demolished. Houses were built and dismantled. Trees grew and fell. Defensive ditches were dug and filled up. Water was supplied and discharged. A wide network of underground communications was laid and destroyed, one way or another affecting structures on the surface. The coating of this surface also changed, right up to the railway (a tram ran until 1930). As a result, we got what we see now: a red wall, towers with stars, huge pines, St. Basil's Cathedral, shopping arcades, the Historical Museum and ... the ritual tower of the ziggurat in the very center of the square.

Even a person far from architecture involuntarily asks the question: why was it decided to build a structure near the Russian medieval fortress in the 20th century - an absolute copy of the top of the Pyramid of the Moon in Teotihuacan? The Athenian Parthenon has been duplicated in the world at least twice - one of the copies stands in the city of Sochi, where it was built on the orders of Comrade Dzhugashvili. The Eiffel Tower has been multiplied so much that its clones are present in one form or another in every country. There are even "Egyptian" pyramids in some parks. But to build the temple of Huitzilopochtli, the supreme and most bloody deity of the Aztecs, to build in the very heart of Russia is just an amazing idea! However, one could put up with the architectural tastes of the leaders of the Bolshevik revolution - well, they built it, well, okay. But the appearance in the ziggurat on Red Square is not striking. It is no secret to anyone that in the basement of the ziggurat lies a corpse embalmed according to some rules.

A mummy in the 20th century, and a mummy made by the hands of atheists is nonsense. Even when the builders of parks and attractions erect somewhere "Egyptian pyramids" - they are pyramids only outwardly: it never occurred to anyone to seal a freshly made "Pharaoh" in them. How did the Bolsheviks come up with this? Unclear. It is unclear why the mummy has not yet been taken out, after all, the Bolsheviks themselves have already been taken out, as it were? It is not clear why the ROC is silent, because the body, so to speak, is restless? Moreover, many other bodies are still embedded in the wall near the ziggurat, which is for Christians the height of blasphemy, the temple of Satan, by and large, because this is an ancient rite of black magic - to wedge people into the fortress walls (so that the fortress will stand for centuries)? And the stars above the towers are five-pointed! Pure Satanism, and Satanism at the state level is like that of the Aztecs.

In this situation, every person who considers himself a clergyman in "multi-confessional" Russia should start every morning with a prayer to his gods, urging to urgently remove the ziggurat from Red Square, because this is the temple of Satan, no more and no less! Russia, we are told, is a "multi-confessional country": there are also "Orthodox" (I mean the false church of the ROC MP - ed.), and Jehovah's Witnesses, and Muslims, and even gentlemen who call themselves rabbis. All of them are silent: Ridiger, different mullahs, and Berl-Lazar. Their temple to Satan on Red Square suits. At the same time, this whole company says that it serves one God. There is a persistent impression that we know what this "god" is called - the main temple for him stands in the main place of the country. What and who needs more proof?

From time to time, the public tries to remind the authorities that, they say, the construction of communism has been canceled for 15 years, so it would not hurt to take the main builder out of the ziggurat and bury it, or even burn it, scattering the ashes somewhere over the warm sea. The authorities explain: pensioners will protest. A strange explanation: when comrade Dzhugashvili was taken out of the ziggurat - half of the country was on its ears, but nothing - the authorities were not very stressed. And the Stalinists today are no longer what they used to be: pensioners are silent, even when they are dying of hunger, when prices for apartments, electricity, gas, transport are raised again - and then suddenly everyone will come out and protest?

Dzhugashvili was taken out as: today they admitted that he was a criminal - tomorrow they buried him. But for some reason the authorities are in no hurry with Blank (Ulyanov) - they have been pulling with the removal of the body for 15 years already. The stars were not removed from the Kremlin, although the "Museum of the Revolution" was renamed into the "Historical Museum". The stars were not removed from the shoulder straps, although political instructors were removed from the army. Moreover, the stars were returned to the banners. The anthem was returned. The words are different - but the music is the same, as if awakening in the listeners some kind of programmed rhythm important for the authorities. And the mummy continues to lie. Is all this involved some kind of occult meaning incomprehensible to the public? The authorities again explain: if you touch the mummy, the communists will organize actions. But on November 4, we saw the "action" of the communists - three grandmothers came. And four grannies came out with banners a couple of days later - on November 7th. Is the government so afraid of them? Or is it something else?

Today, to a person who knows what magic is, the occult, mystical meaning of the building on Red Square is perfectly visible. Sometimes it is difficult to explain to others all the drama of the experiment being carried out on them - someone will not believe, someone will twist his finger at his temple. However, modern science does not stand still, and what only yesterday seemed like magic, for example, human flights through the air or television, today has become the so-called objective reality. Many moments associated with the ziggurat on Red Square have become a reality.

Modern physics has studied a little electricity, light, corpuscular radiation, they talk about the existence of other waves and phenomena. And they are regularly discovered, for example, the Japanese scientist Masaru Emoto recently conducted an extensive study of the microstructure of water crystals, which has long been attributed to the presence of certain properties of an information carrier (and an amplifier of various radiation unrecorded by devices). That is, some part of the knowledge that was considered occult has already become a purely physical fact.

Who, besides specialists, knows about the "mitogenic radiation" of Gurvich (Gurwitsch, discovered in 1923 (its physical nature was partially established in 1954 by Italians L. Colli and W. Faccini)? These and other persistent invisible waves emit dead or dying cells. Such waves kill - proved in a number of experiments. Obviously, the reader assumes that we will now discuss the "radiation" emanating from the mummy and harm Muscovites? The reader is deeply mistaken: we will now talk about the history of Red Square. and explain.

Red Square has not always been Red. In the Middle Ages, there were many wooden buildings in which there were constant fires. Naturally, for several centuries more than one person was burned alive in this place. At the end of the 15th century, Ivan III put an end to these disasters: wooden buildings were demolished, forming a square - Torg. But in 1571 Bargaining still burned out all the same, and again people were burnt alive - as they will then burn in the hotel "Russia". And since then the area has been called "Fire". It has become the site of executions for centuries - pulling out nostrils, lashing with whips, quartering and boiling alive. The corpses were thrown into the fortress ditch - where the bodies of some military leaders are now buried. At the time of Ivan the Terrible, animals were even kept in the ditch, which they fed with these corpses. In 1812, during the capture of Moscow by Napoleon, it all burned down again. Even then, about a hundred thousand Muscovites died, and the corpses were also dragged into the fortress ditches - no one buried them in winter.

From an occult point of view, after such a prehistory, Red Square is ALREADY a terrible place, and some sensitive people who first approach the Kremlin feel well the oppressive atmosphere spread by its walls. From a physical point of view, the land under Red Square is saturated with death, because the necrobiotic radiation discovered by Gurvich is extremely persistent. Thus, the very place for the ziggurat and the burial place of Soviet commanders is already suggestive.

The ziggurat is a ritual architectural structure tapering upward like a multi-stage pyramid - the same one that stands on Red Square. However, a ziggurat is not a pyramid, as it always has a small temple on top. The most famous of the ziggurats is the famous Tower of Babel. Judging by the remains of the foundation and the records on the surviving clay tablets, the Tower of Babel consisted of seven tiers resting on a square base with a side of about one hundred meters.

The top of the tower was decorated in the form of a small temple with a ritual BEDROOM as an altar - the place where the king of the Babylonians entered into intercourse with the virgins brought to him - the spouses of the god of the Babylonians: it was believed that at the moment of the act, the deity entered the king or priest performing the magic ceremony and fertilized a woman.

The height of the Tower of Babel did not exceed the width of the base, which we also see in the ziggurat on Red Square, that is, it is quite typical. Its content is also quite typical: something resembling a temple at the top, and something mummified, lying at the lowest level. Something that the Chaldeans used in Babylon later received the designation - teraphim, that is, the opposite of the seraphim.

It is difficult to explain well the essence of the concept of "teraphim" in a nutshell, not to mention the descriptions of the varieties of teraphim and the approximate principles of their work. Roughly speaking, the teraphim is a kind of "sworn object", the "collector" of magical, parapsychic energy, which, according to magicians, envelops the teraphim in layers, formed by special rites and ceremonies. These manipulations are called "the creation of the teraphim", since it is impossible to "manufacture" the teraphim.

Clay tablets of Mesopotamia do not lend themselves very well to deciphering, which gives rise to different interpretations of the signs recorded there, sometimes with very striking conclusions (for example, those set forth in the books of Zechariah Sitchin). In addition, the sequence of the "creation of the teraphim", which lay in the foundations of the Tower of Babel, would not have been made public by any priest, even under torture. The only thing that the texts say and with which all the translators agree is that the teraphim Vila (the main god of the Babylonians, for communication with whom the tower was built) was a specially processed head of a red-haired man, sealed in a crystal dome. Other heads were added from time to time.

By analogy with the manufacture of teraphim in other cults (Voodoo and some religions of the Middle East), a gold plate, apparently rhombic in shape, with magical ritual signs was most likely placed inside the embalmed head (in the mouth or instead of a removed brain). It contained all the power of the teraphim, allowing its owner to interact with any metal on which certain signs or an image of the entire teraphim were drawn in one way or another: the will of the owner of the teraphim seemed to flow through the metal into the person in contact with him: under pain of death by forcing his subjects to wear “diamonds” around their necks, the king of Babylon could control their owners to one degree or another.

Pickled head with a hole
syphilitic freak VIL
is still an object of worship of Russians

We cannot say that the head of a man lying in a ziggurat on Red Square is a teraphim, but the following facts are noteworthy:

• there is at least a cavity in the head of the mummy - for some reason, the brain is still stored at the Institute of the Brain;
• the head is covered with a surface made of special glass;
• the head lies in the lowest tier of the ziggurat, although it would be more logical to put it somewhere up. The basement in all places of worship is always used for contact with the creatures of the worlds of Hell;
• images of the head (busts) were replicated throughout the USSR, including pioneer badges, where the head was placed in a fire, that is, captured during the classical magical procedure of communicating with the demons of Pekla;
• For some reason, instead of shoulder straps, “rhombs” were introduced in the USSR, which were then changed to “stars” - the same ones that burn on the Kremlin towers and that were used by the Babylonians in cult ceremonies of communication with Vil. "Ornaments" similar to diamonds and stars, imitating a gold plate inside the head under the tower, were also worn in Babylon - they are found in abundance during excavations;

In addition, in the magical practices of Voodoo and some religions of the Middle East, the process of "creating a teraphim" is accompanied by ritual murder - the life force of the victim had to flow into the teraphim. In some rituals, parts of the victim's body are also used, for example, the victim's head is walled up under a glass sarcophagus with a teraphim. We cannot say that something is also immured under the head of the mummy in the ziggurat on Red Square, but there is evidence that this fact takes place: in the ziggurat lie the heads of the ritually murdered king and queen, as well as the heads of two more unknown persons. people killed in the summer of 1991 - the time of the "transfer" of power from the communists to the "democrats" (thus the teraphim were, as it were, "renewed", strengthened).

We have some interesting facts.

The first fact is the certainty that the murder of Nicholas II was ritual and, as a result, his remains could later be used for ritual purposes. Whole historical studies have been written about this, dotting the i's.

The second fact is reflected in these studies: the testimony of Yekaterinburg residents who saw on the eve of the Tsar's murder a man “with the appearance of a rabbi, with a pitch-black beard”: he was brought to the place of execution on a train from ONE CAR, which was occupied by this important person among the Bolsheviks. Immediately after the execution, such a conspicuous train left with some boxes. Who came, why - we do not know.

But we know the third fact: a certain professor Zbarsky "invented" the recipe for embalming in three days, although the same North Koreans, having much more advanced technologies, have been working on the conservation of Kim Il Sung for more than a year. That is, apparently, someone suggested the recipe for Zbarsky again. And to prevent the recipe from drifting out of his circle, Professor Vorobyov, who helped Zbarsky, and who also voluntarily learned about the secret, "accidentally" died quite soon during the operation.

Finally, the fourth fact - the consultations of the architect Shchusev (the official "builder" of the ziggurat) mentioned in historical documents by a certain F. Poulsen, a specialist in the architecture of Mesopotamia. It is interesting: why did the architect consult an archaeologist, after all, Shchusev seemed to be building, and not carrying out excavations?

Thus, we have every reason to believe that if the Bolsheviks had so many "consultants": on construction, on ritual murders, on embalming - then obviously they consulted the revolutionaries correctly, having done everything according to one magical scheme - they would not have started building Chaldean ziggurat, embalming the body according to the Egyptian recipe, accompanying everything with the Aztec ceremonies? Although with the Aztecs, not everything is so simple.

We compared the ziggurat on Red Square with the Tower of Babel, not because it resembles it most of all, although it strongly resembles: just the abbreviation of the pseudonym in the ziggurat of the leader of the world proletariat coincides with the name of the Babylonian god - his name was Vil. We do not know - again, probably a "coincidence". If we talk about an EXACT copy of the ziggurat, about the sample, the "source" - then this is undoubtedly a building on top of the Pyramid of the Moon in Teotiucan, where the Aztecs brought human sacrifices to their god Huitzilopochtli. Or a structure very similar to it.

Uitzilopochtli is the main god of the Aztec pantheon. One day he promised the Aztecs that he would lead them to a "blessed" place, where they would become his chosen people. This happened under the leader Tenoche: the Aztecs came to Teotiucan, massacred the Toltecs who lived there, and on top of one of the pyramids erected by the Toltecs they built the temple of Huitzilopochtli, where they thanked their tribal god with human sacrifices.

Thus, with the Aztecs, everything is clear: first, some demon helped them - then they began to feed this demon. However, nothing is clear with the Bolsheviks: was Witzilopochtli involved in the 1917 revolution, after all, the temple near the Kremlin was definitely built for him !? Moreover: Shchusev, who built the ziggurat, was advised by a specialist in the cultures of Mesopotamia, right? But in the end it turned out to be a temple of the bloody deity of the Aztecs. How did it happen? Shchusev listened badly? Or was Poulsen bad at telling? Or maybe Poulsen really had something to tell?

The answer to this question became possible only in the middle of the 20th century, when images of the so-called "Pergamon Altar" or, as it is also called, "the throne of Satan" were found. Mention of him is found already in the Gospel, where Christ, addressing a man from Pergamum, said the following: "... you live where the throne of Satan is" (Rev. 2.13). For a long time this building was known mainly from legends - there was no image.

Once this image was found. When studying it, it turned out that either the temple for Huitzilopochtli is its exact copy, or the structures have some more ancient model, from which they were copied. The most convincing version claims that the "source" now rests at the bottom of the Atlantic - in the middle of Atlantis, which died in the abyss of the continent. Some part of the priests of the ancient satanic cult moved to Mesoamerica, and the second part found refuge somewhere in Mesopotamia. We do not know if this is really so, and to which of the branches the builders of the ziggurat belong in Moscow, it is difficult to say, but the fact is obvious - in the center of the capital there is a structure, an exact copy of two ancient temples, where bloody rituals were performed and inside this structure in a glass coffin there is a specially embalmed corpse. And this is in the 20th century.

The consultant who "helped" Shchusev build the ziggurat knew well how the building needed by the customer should look like without any excavation of clay tablets. Strange knowledge, strange customers, a strange place for a building, strange events in the country after the completion of construction - hunger, and not one, war, and not one, the GULAG is a whole network of places where millions of people were tortured, as if pumping out vital energy from them. And the accumulator of this energy, apparently, just became the ziggurat.

Trying to talk about the "principles of operation" of the ritual complex on Red Square will not be entirely correct, since magic is an act of occult influence, and the occult has no principles. Let's say physics talks about some kind of "protons" and "electrons", but in the beginning there is still the creation of electrons, the creation of protons. How did they come about? As a result of the "magic" of the Big Bang? In words, the phenomenon can be called whatever you like, but this does not make the supernatural something that you can touch and see. Even "feeling" and "looking" is still a fact of the interaction of consciousness with individual manifestations of the so-called "electricity", the essence of which is absolutely incomprehensible. However, let's try to fit into the terminology acceptable to scientific atheism.

view from above:
"cut" 4th corner
(taken from the Bolshevik website www.lenin.ru)

Everyone knows what a parabolic antenna is. They also know the general principle of its operation: a parabolic antenna is a mirror that collects something, right? And what is the corner of the building? An angle is an angle, that is, the intersection of two even walls. There are three such corners at the base of the ziggurat in Red Square. And in place of the fourth - on the side from which the demonstrations passing in front of the stands appear - there is no corner. There is, of course, not a stone pabolic "plate", but there is definitely no corner - there is a niche (it can be clearly seen in the frames of the archive chronicle, where people in clothes with stars burn the banners of the Third Reich at the ziggurat). The question is: why is this niche? Where does such a strange architectural solution come from? Is the ziggurat drawing some kind of energy from the crowd walking across the square? We do not know, although we recall that it is customary to put a very naughty child in a corner, and it is extremely uncomfortable to sit on the corner of the table, since the depressions and internal corners draw energy out of the person, and the sharply protruding corners and ribs, on the contrary, emit. We cannot say what kind of energy we are talking about, it is possible that some of its qualities are precisely represented by the so-called "electromagnetic radiation", which is actively used by the organizers of the ziggurat. Judge for yourself.

"Cut off" 4th corner of Satan's throne - VIL

In the early 20s of the last century, Paul Kremer published a number of publications in which, operating on such a purely abstract thing at that time as "genes" (they did not yet know about DNA), he deduced a whole theory about the ways of influencing the genes of a particular population with hypothetical radiation erupting from dead or dying tissue. By and large, it was a theory about how to spoil the gene pool of an entire people, forcing people to stand for some time in front of a specially treated corpse or relaying the "radiation" of this corpse to the whole country. At first glance, a pure theory: some kind of "genes", some "rays", although magicians knew such a procedure well in the days of the pharaohs and was governed by the laws of asymptotic magic. According to these laws, the appearance and well-being of the pharaoh in some supernatural way were relayed to his subjects: the pharaoh was sick - the people were sick, they made the pharaoh some kind of freak and mutant - mutations and deformities began to appear in children all over Egypt.

Then people forgot about this magic, or rather, people were actively helped to forget that it was magic. But time passes, and people understand how the DNA system works - they understand it from the point of view of molecular biology. And then a few more decades pass and such a science as wave genetics appears, such phenomena as DNA solitons are discovered - that is, superweak, but extremely stable acoustic and electromagnetic fields generated by the genetic apparatus of the cell. With the help of these fields, cells exchange information both with each other and with the outside world, turning on, turning off or even rearranging certain regions of chromosomes. This is a scientific fact, no fiction. It remains only to compare the fact of the existence of DNA solitons and the fact that SEVENTY MILLION people have visited a ziggurat with a mummy. Draw your own conclusions.

The next possible "mechanism of operation" of the ziggurat is a stable mitogenic field in Red Square, created by the blood soaked in the local soil and the emanations of pain of people killed there. Is it a coincidence that the ziggurat is in this particular place? And the fact that under the ziggurat there is a huge sewer - that is, a cesspool filled to the top with excrement - is it also a "coincidence"? Stool is a material, on the one hand, has long been traditionally used in magic to induce various types of damage, on the other hand, think how many microbes live and die in the sewer? When they die, they radiate. How strongly the experiments of Gurvich showed: small colonies of microbes easily killed mice and even rats. Did the builders of the ziggurat know that there is a sewage system at the site of the future construction? Suppose that the Bolsheviks did not have an architectural plan for the square, they dug in the blind, as a result of which one day the sewer was burst and the mummy was flooded. But then the collector was not rebuilt, for example, taking it away from the ziggurat. It was simply deepened and expanded (this information will be confirmed by the Moscow diggers) - so that the leader of the world proletariat has something to eat.

It seems that the builders of the ziggurat apparently mastered magic to perfection, if through the millennia they managed to betray some tradition from generation to generation and once reproduced the "throne of Satan" on Red Square - never having seen drawings with its image known to science. They owned, own and, obviously, will own, putting satanic experiments on Russians, and possibly on all mankind. And perhaps they won't - if the Russians find the strength to put an end to this. This is not difficult to do, because: although the ziggurat is registered in UNESCO as a "historical monument" (monuments cannot be desecrated) - the unburied corpse lying there completely falls out of the legal field, defiles the religious feelings of believers of all denominations and even atheists. You can simply take it and pull it out at night by the legs, without violating a single Russian "law", because there is no law or legal basis on which this mummy is in the ziggurat.

From the book "The Origins of Evil (The Secret of Communism)":

"Write to the angel of the Pergamon Church: ... you live where Satan's throne is:" Any guide to Berlin mentions that since 1914, one of the Berlin museums housed the Pergamon Altar. It was discovered by German archaeologists and moved to the center of Nazi Germany. But the story of Satan's throne does not end there. The Swedish newspaper "Svenska Dagblalit" on January 27, 1948 reported the following: "The Soviet army took Berlin, and the altar of Satan was moved to Moscow." It is strange that for a long time the Pergamon Altar was not exhibited in any of the Soviet museums. Why did you need to move him to Moscow?

The architect Shchusev, who built Lenin's mausoleum in 1924, took the Pergamon Altar as the basis for the project of this tombstone. Externally, the mausoleum was erected on the principle of the arrangement of the ancient Babylonian temples, of which the most famous is the Tower of Babel, mentioned in the Bible. The book of the prophet Daniel, written in the 7th century BC, says: "The Babylonians had an idol named Vil". Isn't it a significant coincidence with the initials of Lenin, lying on the throne of Satan?

And to this day, VIL's mummy is contained there, inside the pentagram. Church archeology testifies: "The ancient Jews, rejecting Moses and faith in the true God, cast from gold not only the calf, but also the star of Remfan" - a five-pointed star that serves as an invariable attribute of the satanic cult. Satanists call it the seal of Lucifer.

Thousands of Soviet citizens stood in line every day to visit this temple of Satan, where Lenin's mummy lies. The leaders of states paid tribute to Lenin, who rests within the walls of a monument erected to Satan. Not a day goes by that this place is not decorated with flowers, while Christian churches on the same Red Square in Moscow have been turned into lifeless museums for many decades.

While the Kremlin is overshadowed by the stars of Lucifer, while the mummy of the most consistent Marxist is on Red Square, inside an exact copy of the Pergamon altar of Satan, we know that the influence of the dark forces of communism remains. "