.......So now the fpf@project act nollywood is underway.
The DGN (directors guild) has also picked some of their members to attend a 2-3 month film production course in the US.
We are also made to understand that some of the attendees, were able to acess part of the N700M skills acquisition n skill enhancement fund, with more courses being organised here n more foriegn trips also being planned, to help the n ollywood film practitioners associations n guilds, to hone n perfect their crafts, ...aint it about time for our Nigerian movies to move up a notch ?
Remember to whom much is given, much is expected.
Full details of nollywood film funding project can be found here below
http://www.projectactnollywood.com.ng/index.php
Carlnewsblog
Friday, May 9, 2014
Shell to sell more assets in Nigeria, others
Shell to sell more assets in Nigeria, others This move mar boost interest in the marginal oil sector, n local investor's oportubity vieing for a stake in the Nigerian Energy sector. I predict we may see more IPO's in the Large n medium size markets in EU, UK, US n Canada.
Thursday, June 13, 2013
DANBROWN’S LOST SYMBOL
Dan brown for many, is an artist; he creates recondite images
in his reader’s minds. Though he writes about fictional situations and
characters, there are those who perceive a secret reality within his Iliadic
narratives, as they siege our 21st century consciousness.
In Angels and Demons he depicts a lone character and only
member of a defunct secret society, the illuminati, which, while they existed
were enemies of the church in the story. But the twist this time was, … this
lone member appeared to be a promising acolyte of the church.
Then he wrote Da Vinci code……………..
The lost symbol, tells a gripping story of a metamorphous
character, who fancied himself as Moloch (Malachi or Maleck), an ancient
priestly, daemonic and godly manifestation; a metaphor for Melchizedek (Melechi
Zadeck) from occult lore and the book of Genesis, and who supposedly roamed the
earth as a god or angel. In this character’s metamorphism, he tried to discover
the lost symbol of Freemasonry.
Through this character we are able to explore a theoretical
initiation into the secrets of masonry and the legendary masonic master plan of
Washington DC. The journey leads us to the Washington monument, an
Egyptian obelisk, reputed to posses certain masonic and alchemical secrets.
Then to our surprise, the ‘lost symbol’ precipitates as ‘Al’ the chemical
symbol of Aluminum, a metal placed at the tip of the obelisk with the Atomic
number of 13, and an atomic weight of 26.97.
According to Chambers’s Encyclopedia, Aluminum was known to
the Egyptian Greeks and Romans but was not isolated as a metal until the 19th
century. It occurs as the most abundant metal and widely distributed in nature
i.e. in silicate rocks, clays, slate and bauxite as the oxide or alumina. It is
then extracted through electrolysis, and electrolytic reduction.
A silvery white metal, Aluminum as the description explains ,
remains unchanged in air , it is ductile
and malleable with the following unique combination of properties; high thermal
and electrical conductivity, light weight, high reflectivity, resistance to
corrosion by chemicals, foodstuff, industrial atmospheres. The values for high
purity aluminum include, m.p.660 degree C; b.p. approx 1,800 degree C; density
2.70 b/mi; coefficient of thermal expansion,0.0000238 per degree C (20-100
degree C), 0.0000287 (20-600 degree C); Thermal conductivity 0.52 cal/cm/cm2 degree
C; electrical resisitivity,2.67 mohm/cm at20 degree C, specific heat 0.222
at0 degree C.
It can be alloyed
with copper, silicon, magnesium, iron, nickel, manganese and zinc and also tin.
Also, very high strengths can be achieved of these alloys and developed by heat
treatment and mechanical working. It is easily workable with other metals and
elements because of its trivalency and can be brushed into an attractive shining
appearance when finished.
It has been used
in fabrication: castings, extrusions and high strength forgings. It may be
riveted, brazed; welded by fusion, pressure or electrical resistance. It proved
invaluable during the world wars and its used was increased during peacetime in
transportation, (air land and water).
Its compounds
include alumina also used in making synthetic artificial precious stones;
Aluminum silicates used in the manufacture of glass and ceramics; Aluminum
Acetate used in waterproofing fabrics; aluminum chloride used in the fuel
industry as a catalyst for organic reactions; aluminum fluoride; Aluminum
sulfate , used in fire extinguishing and for precipitation in sewage and trade
effluents.
No wonder Dan Brown’s
lost symbol identifies it as an important occult trivalent metallic element
with hitherto unknown valencies. Its valency bond can assist in developing high
strength materials and advanced technology.
Remembering the
supposed military ‘hot air’ balloon crash of Roswell, which has now been
admitted by papers from ‘Area 51’ to be an alien craft crash. Eye witnesses
were able to retrieve foil like flexible material that appeared stronger than
steel and other metals, but bendable and foldable like aluminum foil.
What is the significance of these’
revelations’? What exactly did a homo-fictus
from the ‘lost symbol’ mean when he opined that ‘apocalypse’ means ‘a
revelation’?
What is to be
expected of the future?
Since the movie
2012 pundits speculated that the world would end last year, and when it didn’t
happen they shifted ‘end time’ to this year being 2013. Many have used mirror
figures like 12:12:2012 or 12:12:12, 12:21:12, 1:3:13, 31:1:13, 3:1:13, 3:3:13,
31:3:13 to set the date for this, but till date, nothing has happened.
Or has it? Have we
gradually slipped through a paradigm shift without realization? Is the world
still the same in the wake of tsunamis, street protest and riots stemming from
economic hardship, ‘Ozone’ depletion, hurricanes and ‘supper storms? In a new
age where American citizens are spied upon by their own government through the
internet? Where wars not only kill soldiers but also civilians, including women
and children, while we watch from our living rooms?
The mystery for me
is that Dan Browns book holds a revelation in numbers and symbolism not readily
seen… Firstly Al, the symbol used for Aluminum is also the name of ‘The Most High
God’. It is also pronounced in Hebrew as El. In Arabic and Islam it is
pronounced as Alla or Allah. Spelt in Hebrew with the letters Aleph and lamed,
with values of 1 and 30 respectively. These add up to 31, which is a mirror of
13, the atomic number for Aluminum. This may remind us of the drama in ‘Shaveh’
the King’s Valley where ‘Melchixedek’ broke
bread with wine saying “…Blessed be Abram of God most high…….” Gen 14 v 17-20.
Then again in
reducing the atomic weight of the metal with a secret kabalistic gematric
method we get 8.16(2+6=8:9+7=16), further separation and division will give is
8.88(8+8=16).
When you move the
decimal one space or figure to the left you get .888, if you move the decimal a
space to the right you get 88.8, and to the extreme right 888. When you
figuratively express these numbers together you get .8.8.8. Now regular masons
can see the symbolism therein.
Also the atomic
weight expressed as a whole number, is 27. A number well known to represent
Plato’s solution to the problem presented by the oracle in Delphi, and the
solution to doubling the cube with 156 ‘Squares’.
I wonder what
Dante Alighieri’s opus has in store for us.
Friday, June 7, 2013
The Masonic town plan of Aba
THE ABA MASONIC TOWN PLAN
fig.not shown
On the grounds of St. Michael’s Anglican cathedral Aba is a marked and
chained grave, with a lot of history. The man lying beneath is Charles, John D
D..wa (1862-1936)who served as Bishop of the Niger
from 1933to36, and one the figures who
must have been behind the Masonic map
plan of Aba. He
was a regular mason and might have also been linked to many other arcane and
esoteric organizations. History has it that he came to Aba in middle to end
1800’s and found Aba very conducive for development as the natives had at first
welcomed them with open arms
fig. not shown
He was instrumental in the establishment of St.
John’s parish Osusu which at the time was just a local church, used
to convert natives and which was probably at the centre of land conscription in
the area under the British Empire.
A second look at the plan reveals information that was not
first noticed by our research team. From the new design one sees a more
elaborate plan with deeper hidden mysteries which, we have tried to unravel. By
adding imaginary lines using the rules of geometry a complete pyramid with a
compass manifests under the hand previously thought to be pointing upwards. The
compass seems to obey the laws of perspective with one point appearing shorter
than the other as it points to the center of the square. The other point
appears longer while seemingly touching the top point of the second pyramid.
To the east one sees a figure thus:
fig. not shown
on top of a
rectangular box like design which kind of slips under the one of the arm of the
large square towards the old town cemetery.
We find it thus, a remarkable design depicting the burial of
Hiram Abiff as well as the landscape of the great pyramid in Gizeh. The same
pyramid historians have linked to Khufu, “the pyramid of Cheops”.
The other pyramids both linked to Khafre and Menkuare are
not depicted.
In this interpretation the figure we had shown above
represents the sphinx, the wise “lion man” of the desert. A chimera of four
animals in the ancient Egyptian view i.e. man, lion, eagle, bull. The first two
being used mostly to describe qualities, which according to ancient esoteric
principles represent alchemical air and fire…….
The sphinx is facing “east”, and overlooks the “Nile”, here
represented by the Aba
River commonly known as
‘waterside’.
Historians who view Egypt as the cradle of stone masonry and
as such the best example of the beginning of our “craft’ will be in agreement
with this design as it shows the landscape of Egypt as archeologist believe it
must have looked back on 4000bc or so. No wonder the Masonic year is said to
have started right about the same period.
As at that time and beyond, Egypt was ruled by a series of Semi
divine kings. Writers such as Hancock
and Bauval refer to them as the ‘”followers of Horus”; and who according to
evidence instituted or possessed a secret king making ceremony, before
3150-3100BC. According to history, Menes was the first of a series of 8 rulers
whom Manetho the Egyptian sage and historian, referred to as the rulers of the
1st dynasty in Ancient Egypt. So by the unification of both lands
about 3150-3100BC, Menes symbolically signified Horus, who unified the upper
kingdom and lower kingdoms of Egypt
in what we term in modern times as ‘Egyptian mythology’.
Another significant fact is that at that time or probably
during a later period, there existed two temple pillars in Upper and Lower Egypt.
The one in Lower Egypt was at Annu or Heliopolis also known
as ‘On’ in the bible, which represented “Establishment”, perhaps erected when
Menes had conquered and established himself as king over the lower land, and
the other at the temple at Thebes to signify the might of Menes who had
attacked from the upper kingdom.
This Temple was probably where, during the later middle Kingdom period,
when Memphis had been decimated and they were being ruled by the ‘Hyksos’, a
desert tribe who invaded Egypt, the Egyptian priest hood put up a resistance
against the invaders.
So Thebes was also later seen
as the spiritual ‘stronghold’ of Egypt in religious matters, thus
the pillar represented “Strength”.
In ancient Egyptian mythology, the ‘self
-creating’ god Atum creates or gives
birth to two children Shu and Tefnet; Shu and Tefnet gives birth to Geb and Nut
or Nuit; Geb and Nut then gives birth to four children namely Osiris, Seth,
Isis and Nephtys. These are the ‘ennead’ or group of nine deities.
Osiris is killed by his brother Seth and is decapitated into
seven parts which Seth buries in seven different parts of Egypt. Isis,
consort of Osiris, travels all over Egypt recovering all the seven
parts, she puts them together and copulates with the dead Osiris to give birth
to Horus.
Horus ruled over Lower Egypt
while Seth ruled the upper kingdom. Then Horus becomes the crowned and conquering
Lord of both kingdoms, by avenging his father’s death; in some versions he
kills Seth to rule over Upper and Lower Egypt and
in other versions, Geb overrules Seth and strips him of the upper kingdom, then
hands it over to Horus.
The Templar connection:
According to legend(rites of Aebrmln) this tradition was
brought by Moses who had grown up in the pharaohs household and trained as a
prince from Egypt to Canaan and it
finally reached Israel; and was later ‘instituted’
by the tribe of Judah whose symbol is also “the Lion”.
David’s son Solomon built the first temple and in front,
were two pillars representing the same principles. After the destruction of the
first temple, Zerubbabel on his return from exile in Babylon built a second temple. It was done
with a sword in one hand and a trowel in the other.
Some historians claim that this second temple had gone
through some dilapidation, when Herod decided to rebuild and his temple was
finished sometime around 60-68AD, then it was destroyed in 69, 70 or 76 AD
thereabout. It was claimed that a
spiritual sect had buried some of their wealth and knowledge under this temple
before it was destroyed, and perhaps what was discovered in terms of ‘knowledge’
was used by nine knights (Hugues de Payen et al) to found The Knights Templar
around 1118AD. It has also been suggested that Hugues de Payen was married to a
Sinclair and the Roslyn chapel in Scotland
has the same floor plan as the temple
of Herod destroyed in 70
AD.
“Da Vinci” connection:
LEONARDO DA VINCI 1452-1519 AD ; 15th-16th
Century, is described in Hamlyn’s Encyclopedic World Dictionary as: Italian
painter, sculptor, architect, musician, engineer, mathematician, scientist.
He is also known for
two famous paintings, “La Gioconda” (The ‘Mona Lisa’) at the Louvre museum Paris, and the “Last
supper”. The latter was commissioned by
the Monks of Santa Maria delle Grazie ‘to be painted on a wall of the refectory
of the convent’, which he completed in 1498. It has been written that the moment
chosen for the illustration is, when Christ pronounced the words “One of you
shall betray me.”
Scholars have held that these two paintings together
hold keys to information some refer as a
‘code’ of sorts; more so elaborated upon by copies of the ‘last’ painting by other painters after Leonardo,
who might have shared the same view.
The first key to this
code may be in the name of the artist himself, seen in certain quarters to
represent the constellation of Leo, the zodiacal Lion and the fifth sign. This is also reminiscent of the leonine
features of the famous Sphinx of Egypt. This fact can be guessed, by reading
both paintings in the right light. The information can also be divined from a
meticulous search in comparison, through the elucidated writings of Hancock and
Bauval, in their 1996 epochal volume “The message of the Sphinx”.
Leonardo was said to have shared the same views as the
Templar’s, though by his time no known Templar organizations existed in the
open, not after the burning on the stake of John Demolay, the grand master of
the knights in the 1300’s
Fig not shown
In the ‘last supper’ painting ,it is said that Leonardo
shared a view held by an ancient ‘sect’(Johaninne) and the ‘Merovingian knights’
that Jesus left a bloodline in secret, and the Magdalene was a
receptacle(Grail) for this. He painted both Jesus and Mary Magdalene as a
couple or a “mirror” of each other.
The ‘sect’, reputed to be a group which held John the
Baptist in high esteem, and which, it was later claimed Jesus joined through
baptism by John.
The painting shows the figure of Jesus sits in the center of
the table and reaches as if to pick a piece of bread, egg or stone like round
object, with his right hand, while he seemly displays the third rock like
object with his left. In between these is a second stony object.
Viewing the stones as representative of the three pyramids
at Gizeh, the ‘Leo’ code mentioned above points Christ out as the Sphinx, a
statue worshipped by a desert tribe from the Harran
desert as Christ was worshipped by the Magi in his cradle. Coincidentally these
‘Chaldean priests’ were known to sojourn into the Harran
desert to meditate and were perfect astrologers. So according to Davinci,
Christ (the sphinx) seems more connected to Cheops (the Khufu) pyramid than the
other two (Khafre and Menkuare). This may also allude to secret connection
between the Kingdom in Jerusalem
and the secret king making rituals of the followers of Horus.
In this light Christ becomes the crowned and conquering
child Horus who unites both upper and lower kingdoms, heaven and earth. This
might also lead us to read new meanings to the second Chapter of Mathew (the
visit from the magi), with special attention on Vs 13 to 23 (ten verses in
all). In v 15 is revealed what the Lord had said through the prophet “Out of
Egypt I called my son.”
In viewing Christ, as the son of David, the ‘Lion’ of Judah
and heir to the crown, the code opens up a portal to the searcher and
observer.
In the message from the Sphinx Hancock and Bauval reveals
the Orion mystery. They show that the three pyramids represent the ‘belt of
Orion’ in the Orion constellation in the Sky. They also showed how the horizon
may have looked in the periods before Menes, and make a good argument for
dating the pyramids later than 4000,5000 or 7000BC, in fact they seem to
pinpoint 10500BC, while Davinci puts it at 11000BC through his code if well
deciphered.
As at that time, with the other pyramids intact and the Nile flowing nearby the landscape looked this:
Figs not shown
This seems like a good representation of Orion on the ground
according to Hancock and Bauval. The star is the sphinx; the three pyramids are
Khufu, Khafre and Menkaure, with the Nile
flowing besides and mirroring the Milky Way.
One gets the feeling that this if translated to Hebrew, which
if you read it to be the heiro -script of priests of Egypt spells “JA”, Yod and
Aleph, and shows the first two letters in “Jaweh” and in roman figures “IX”
represents the number nine, the Egyptian Ennead. Hugues de Payen and his eight
knights total 9.
From the heavens the opposite becomes the reality the Hebrew
translation reads AJ, Aleph –Yod and the Roman numerals XI =11, the number of
the sephiras in kabala if you include the sphere of ‘Daat,’ “knowledge”
So we take it the Bishop probably viewed Christ in the same
way the Templars or Davinci did; perhaps the same way he is viewed in the AASR,
York rite and probably other masonic rites which
lean towards the ancient and primitive rites of Egypt.
Let’s consider the other masonic links of the town plan
shall we;
In the figure representing the Sphinx we have “constitution”
crescent on which is a notable street “Santa
Maria”. Constitution is a word used in regular masonry
to differentiate as we say customs and usages. And Santa Maria delle Gracie is the name of the
monastery which commissioned Davinci’s “Last Supper” in the 15th
century. After Howells crescent in the same neighborhood, you get “Scotland”
crescent. The land
of Templar’s and the country
of the Sinclair’s and where Roslyn chapel is located. Taken with constitution
crescent we have “Scottish Constitution” which founded, consecrated and built the
first and only Masonic temple in Aba.
Close by is York street, “York” was a “craft” rite in
England that is extant there, but still
remains a rite in masonry that offers up to 11 degrees in some versions and 33
degrees in others; it’s well steeped in templar rituals.
Ehi road can be translated to English as Cow road. C.O W.
Corn, oil, and wine, gifts king Solomon gave to King Hiram.
East Street
which leads to the waterside or East of the view of the Sphinx. Masters Stand
‘due’ east in craft masonry.
The “cemetery”: The
Masonic significance to Hiram having been mentioned, I would like to draw your
attention once again to the cemetery area, where as we can see the designer
seems to have included some perspective.
Looking at the end of the square that ends by cemetery
market, one notices a ‘slant’. This is intended to depict in a sense,
perspective. Like the end of the e square is slightly lifted on that side,
while the end of the square starting at Calabar Street appears flat. If you
notice the compass on top of the Pyramid, it does not seem to be in position on
any degree.
So to correct this, imagine moving the compass slightly towards 45 degree angle NE. you will notice that the
shorter point of the compass will land of top of the square at Calabar street
while the longer end will slip under the raised end of cemetery where it will
be buried and ready for ‘work’ on the right degree. This degree is also the
portal for the higher degrees of Mark Master, Royal Arch, and Rosé Croix etc. And
in order to proceed under the “Scottish Constitution”, you will have to reduce from
3 to 2; now there lies another mystery on the map, which I’ll leave for those
with the keys to solve.
Viewing the compass and pyramid as a huge clock, the hand
holding the compass while pointing is at tilling time 12noon the big hand is at
9 while the little hand of the clock is at 3. The time is 3:45 another key into
the “Chapter”. Then you will also notice that these numbers have something in
common. 3,9,12.
3+9=12 and 12 reduces to 3 etc. But they are also missing
something; which is the number 6.
If you include the missing number you get the cardinal
points represented thus 12, 3, 6 &9 or progressively 3, 6, 9, 12. These are
progressions of threes. Any student of the “Goetia” will see that these are the
lesser key of Solomon.
Besides if you cross multiply 12 by6 and 3 by 9 you will get
a mirror number 72, 27 they both reduce to the number 9=7+2. Looking at it from
another view point 22 is the number of parts on the tree of life and the number
of the Hebrew alphabets. It reduces to
the number 4; also2x2=4. While 77 is a very mystical number in lamechian terms.
7x7 =49.I’ll live those versed in the Babylonian ‘evocation’ system to fill in
the blanks.
Now by using the reduction system in qabalah, 49 reduces to
13 which relates to the base figure and dimensions of the great pyramid and
also a full moon circle for a year. 13
also reduces to 4
72 is a number esoterically linked to ‘Shemhamphorash’ which
in turn relates to the aforementioned key of Solomon. 27 and 72 both relate to
the magic square number 108 ie72=36 by 2, while 36 by 3=108. In the same vein
27 by 4=108; now 3and 4 relate magically in a very mystical way in the way of
the “Rose”
But that’s not all. If you follow the progression you will
get to 15 thus 3, 6,9,12, and 15. Fifteen is a special number for fellows of
craft it also the “lamechian” number of the chambers in the ark of Noah.
Looking at these numbers one can readily see the number of Endeavour lodge
under the rolls of the Grand Lodge of Scotland 1593; this achieved by jumping backwards over two numbers one at a time; the
two numbers are 6 and 12 the same numbers which total 72 when multiplied; the
key of Solomon. The regalia of Lodge Endeavour has two crossed keys depicted on
it as part the design.
Lastly for the cinch, we also think that the name ENDEAVOUR
is a cipher for “EDEN” “OUR”“AV “; an allusion
to Garden Avenue
on top of ‘St
John’s Pyramid’. It also seem like it was chosen as an
inspiration to ‘try’ to solve the mystery; to continue from the point where the
previous masons stopped.
So therefore by
placing Lodge Endeavour under the second pyramid in 1963, the colonial masons bequeathed
within it’s safe depository, the final keys to the Map.
Bibliograph/theque;
MESSAGE
OF THE SPHINX; Hancock and Bauval
HIRAM
KEY; Christopher knight and Robert Lomas
THE ORION
MYSTERY; Robert Bauval and Adrian Gilbert
GOETIA; Compiled and Translated by S.L. “MacGregor”
Mathers; Editing and Additional Material by Aleister Crowley
ENCYCLOPEDIC
WORLD DICTIONARY; Hamlyn
CHAMBER’S
ENCYCLOPEADIA; N.R.E VOL 5
HOLY
BIBLE; NIV
THE
HUNDRED BEST PICTURES; Arranged and Edited by C. Hubert Letts
ANCIENT
EGYPTO BABYLONIAN RITE OF MAGES AND LAMECH OF NINEVEH; Rectified rite of Memphis
LEONARDO DA VINCI
1452-1519 AD (15th-16th Cent.) “Magus” ©2012 by Frater: A.: A: Menkheru
AKHUNATEN’S WORD; ©2012 by Fra :. Tau Ar-Mn-Kohene-Aten
ANCIENT AND PRIMITIVE RITES OF MEMPHIS
AND MIZRAIM;
THE CRAFT; Irish Constitution
GOOGLE EARTH; ©2010 Google
LAST SUPPER; Leonardo da Vinci
AMADIOHA GOD OF THUNDER
Amadioha:
In ancient Igbo history one of the most feared deities is
Amadioha. Some liken this deity to the Thunder gods of nature like Thor, Sango
etc. Others refer the persona as the
god of fire. But as some historians have noted, this demiurge has other
qualities hitherto undisclosed and unexamined by classical theology.
The word Amadi means
“the gods” a collective term also used to refer to land owners, akin to the
Yoruba omo- onile. Also in Yoruba
land, the word Oni refers to Ife
Kings and Onile is now termed to mean
God Almighty in some traditions. The fact the land is seen as the fore bearing
aspect to determine “Lordship” is not only practiced Igbo land or Yoruba land
but has been seen to apply in the British aisle, in ancient Babylonia, Egypt
and European countries during the middle ages. A king who owns all land is
referred to as a ‘Lord’, and his barons and counts to whom he consigns such
lands, are seen as such.
So Amadi used in reference to land lords is not a practice
different from cultures in other parts of the globe. What is more particular in
the Igbo sense is that this word is also used as a collective for “the gods” of
the land, worshipped in a religious sense; and the totality of these gods were
summed up in one single deity, Amadioha.
Oha in Igbo
means the people or the populace, so Amadioha extends and contracts as long and
wide as the populace extends and contracts, akin to a “Sufflating supplex”.
The word “Grand Supplex” was coined during a meeting of the
college of cardinals of the Roman Catholic Church sometime in 1997, before Pope
John Paul II came up with the new catechism and ‘creation’ in “Statu vae”, to refer to the changing
qualities of the “Grand Omega Dimension” which was once understood as
immutable, but now also seen as flexible.
So it can be readily seen that in certain aspects, ancient Igbo
shared the same views on cosmogony and cosmology as the modern Roman church
before and since its new catechism.
Again, some scholars have in the early 1990’s held that Amadioha
in a deeper philosophical level shares certain attributes of the Hebrew Yaweh
or Yahweh. In Hebrew” YHWH” is the spelling of the almighty deity who was the
God of Abraham and also appeared to Moses in an ‘emanation’ he saw and heard as
“EHIH”, both spelled with four letters.
In some cabalistic texts the word YHWH or YHVH is analyzed in
four parts to represent the elemental kingdoms of fire, earth, water, and air.
Amadioha in Igbo theology also has four sons and their names
mark the four market days that made up the ancient Igbo week. Some writers are
currently doing work on this subject, to
show that the numbering of weeks in four and days in seven to make 28 days of a
month was also used in Igbo land in the reverse i.e. days were numbered in four
and weeks in seven by the Igbo Dibia,
who also held the number 12 sacred.
The ‘collective’ analysis is not farfetched from the view held
by the” Elohist”, i.e. pluralist of Hebrew writings who believe in God as
“Hosts”; Elohim, ALHM or ALHYM (spelt with a Yod between the letters ‘He’ and
‘Mem’).
Their modern adherents are quick to point out that in the book
of Genesis chapter 1 verse 26 it is written that God said “Let US make
man in OUR image, in OUR likeness”
This attribution for Amadioha can also be interpreted in a
pantheistic view; of a God, who in this cosmism has no other “gods” before it,
as in terms they have all been swallowed up by its Cosmo-genesis; as such
Amadioha can be defined as a deity who sufflates to encompass, and bends to
accommodate.
Chukwuegu the artist created his first Gold gong winning
sculpture “Edo”, the Goddess of Nnewi in 1970.
This piece was his first major calling by ‘the
gods’ and was presented by General Gowon the then Nigerian head of state as
a Gift to Emperor Haile Selassie (Born 1890, Emperor of Ethiopia 1930-36).
The Gods edged him on from 1972 to 1974 when finally Amadioha manifested
after sculpting on it during that period; and it also won a Gold gong in the
same year.
His Amadioha stands 7ft tall, weighing 95kg and looms majestic, like Vincent Van Gogh’s ‘Hill of Montmartre’,
or the “dark flames” in his ‘Road with Cypresses’. It ponders like ‘Dr.Gachet’
or his ‘self portrait’, in an atavistic chimerical stature, yet shines like the
sun in his ‘Sower’, but with a Dali-esque
posture. It is surrealistic and functions within posing rhythmic lines.
As Rudolf Arnheim puts it, “such application of a well organized
pattern to a phenomenon of reality…must be viewed as a creative invention of
the human mind that has little in common with mechanical imitation or
description.”
Chukwuegu in his depiction transports us in perspective through
a Surrealistic and kaleidoscopic version of the “Mbari”. He allows us to view
this deity as children lost in imagination… introverting as Herbert Read
describes, “…a procedure of highly intricate combinations building the whole on
a hierarchy of detail….which reveals a careful observation (and contemplation)
of the subject. Differentiated in a manner, and conceived at the highest levels
like the masters of the ‘Linear style’ who move with unswerving precision along
a contour that captures all subtleties….”
This piece follows nature, and through nature leads us to a
place where all men must reach in order to contemplate what Delacroix meant
when he noted…… “that the straight line, the regular serpentine, and the
parallels, straight or curved, ‘never occur…; they exist only in the brain of
man. Where men do employ them, the elements gnaw them away”
My first visual perception of this deity was also my first
contact with Chukwuegu’s sculpture sometime in 1972 or 73, and also the first
time I heard the name “Amadioha”. To my childish eyes this Gold gong award
winning piece looked horrific; I took
flight as my heart sank not knowing where to take refuge; next, I tripped by the
foot of the artist himself, who caught me as I fell, and placated me as I began
to sob “you made it work” he told me quietly. Little did I know then, its
predictive implications. This meeting by chance had changed my perspective, in
relation to Amadioha and life; and the way I will interact with this deity for
the rest of my adult years.
As Hebert Read elucidated Plato’s thesis: that art should be the
bases of education and he summarizes “It is assumed then that the general
purpose of education is to foster the growth of what is individual in each
human….at the same time harmonizing the individuality thus educed with the
organic unity of the social group to which the individual belongs…” So has this
piece done the same for me and many others, in teaching the relationship
between man, deity and the cosmos.
And I will not be so surprised if this sculpture which after
winning the Gold Gong in 1974 was proudly exhibited by the Nigerian art
councils & museums, inspired Susan Wenger’s later additions to the Osun
deities in the grove.
Dr. Carl C. C. Ohiaeri,
Is Aba Masonic
IS ABA IN ABIA STATE A
MASONIC TOWN? ©2012
Aba is a south eastern town
in Abia State Nigeria, built in the early 1900’s
and boasts of industrial complexes and manufacturing companies from that time.
There’s new evidence to suggest that Aba,
the commercial town of Abia
state was founded and built by masons. The designs and planning of the roads
leading to the town hall and its environs seems to depict deep knowledge into
the secret symbols of the freemasonry and there functions.
Aba
was built in the early 1900’s (1900-1920’s) and at that time there existed, no
known Masonic body or Lodge within. Lodge Endeavour No. 1593 SC was founded
under the rolls of the Grand Lodge of Scotland on the 3rd of May
1962 and consecrated on the 12th of June 1963. So this evidence
might point at the existence of a secret Masonic body which operated in the
town in the early 1900’s and which had Rosicrucian and Egyptian influences.
It might be that the inhabitants of the land before
colonization by the British empire, had knowledge of the pyramids and their use
in religious worship ( see The Calix Papers),
and they may also have used elephants as transportation, a fact which probably
led to the nick name of the town known in certain circles as “Enyimba”, meaning the Elephant clan.
A theory suggests that they might have migrated from Congo, the land
of pygmies, and the place where the Legendary King Solomon’s mines are reputed
to be located. The pygmies were known to hunt elephants for food and
domesticated them for transportation, which might explain how they were able to
travel the far distance between the deep forest of the Congo and the delta region of Nigeria.
A common feature between the local inhabitants of Aba and the Pygmies is
height. The Ngwa, the local inhabitants, are known to have many pygmiods (a mix
between pygmies and Bantu) among their clansmen. Also one of the legends
connected to Nri, the reputed first stop of Ibos, is that they had a pygmy race
amongst them “Nwanshi”. This might also allude to the origin of the Nigerian
pygmy goat and cattle, prevalent in Ibibio, Hmong, and Igbo lands. The later is
now a rare find in Ibo, land but can still be found in lands between Ngwa-land
and Akwa- Ibom State.
The main modern Masonic evidence is the visible “square”
shaped connection of roads right smack in the middle of the town and leading
the town hall (see diagram). The ancient
are pyramids which depict a primordial form of tantric worship and an elephant
shaped masquerade. Evidence suggest that the ancient worship entailed an
elaborate interconnectivity of paths; which included spiritual currents flowing
through “Omuma “ to certain sites; which were conscripted by the British, who erected churches on these sites.
In ‘The new Masonic plan’, the pyramids appear like they
were employed to depict a Christian view. One of the pyramids tips at “Garden Avenue” an
obvious allusion to “Eden”,
which in certain Masonic legend represent a garden of roses in the center of a
cross of four rivers. At the center of this pyramid is St John’s parish Osusu road.
According to sources close to historical figures in the
Anglican community in Aba, this parish was
supposed to have been the site of the Anglican cathedral in Aba, but the land struggle between the church
and the inhabitants of the land now housing St Eugene’s Catholic Church
thwarted this plan.
As a result, the Anglican Church moved its center to St.
Michaels, inside the main town, while the natives sold off most of the land
which had previously been conscripted for further development by the British,
in that part of town.
The modern Masonic
roots of Aba it
may seem from the evidence, was spurred by the Colonists and early migrants
from Sierra Leon, who might have been made up of masons from Portharcourt and
Calabar. Okirika Lodge Portharcourt has names like Sankoh etc on their list of
officers from the early 1920’s and Mc Donald Lodge Calabar also boasts of
Sierra Leonean Masons from the early 1900’s. A name like “Boyle” was once a
street name in Aba
which may have been changed, while Tenant, George’s, still remain as a road and
street. These were named after Sierra Leoneans who once lived in Aba.
In fact history has it that the rolls of Endeavour Lodge
were filled with Sierra Leoneans in the sixties and seventies; the last of
which were the late Barber’s. Many buildings in the Government Reserved Area of
Aba was once virtually owned by Sierra Leoneans, and while some sold their
properties to relocate elsewhere as a result of the 1966 civil war and its
aftermath, there still remained a few families who and married Nigerians in the
process of naturalizing as indigenes.
Studying the town plan, one gets the feeling that
individuals responsible for the designs did not conclude all their planning before
the handover date in 1960; but they completed the Masonic landmarks before
lodge Endeavour in 1963, was strategically placed at the base, and right under
the second pyramid with its apex in Ariaria market and environs.
The realization of the unfinished divine plan gives the
impression that a higher architect was at work when the city planners were at
there’s. I hope that sometime in the present or in the future other masons can
have the time and resources to research more on these remote planners, the
church which obviously influenced them and the masons who dwelt in the city in
the early 1920’s to see if the plan would be completed. ©2012
Wor. Bro.
Chief (Dr.)C. C. Ohiaeri Past Master &
Secretary
Aba Urban Lodge 908IC
Wednesday, June 5, 2013
Davinci code revisited
LEONARDO DA VINCI 1452-1519 AD (15th-16th
Cent.) “Magus” ©2012
Is described in Hamlyn’s Encyclopedic World Dictionary as:
Italian painter, sculptor, architect, musician, engineer, mathematician,
scientist. He is also known for
two famous paintings, “La Gioconda” (The ‘Mona Lisa’) at the Louvre museum Paris, and the “Last
supper”. The latter was commissioned by
the Monks of Santa Maria delle Grazie ‘to be painted on a wall of the refectory
of the convent’, which he completed in 1498. It has been written that the
moment chosen for the illustration is, when Christ pronounced the words “One of
you shall betray me.”
Scholars have held that these two paintings together hold keys to information some refer as a ‘code’ of
sorts; more so elaborated upon by copies of the ‘last’ painting by other painters after Leonardo, who
might have shared the same view.
The first key to this
code may be in the name of the artist himself, seen in certain quarters to
represent the constellation of Leo, the zodiacal Lion and the fifth sign. This is also reminiscent of the leonine
features of the famous Sphinx of Egypt. This fact can be guessed, by reading
both paintings in the right light. The information can also be divined from a
meticulous search in comparison, through the elucidated writings of Hancock and
Bauval, in their 1996 epochal volume “The message of the Sphinx”.
In viewing Christ, as the son of David, the ‘Lion’ of Judah
and heir to the crown, the code opens up a portal to the searcher and observer. It shows that Leonardo pointed to a time beyond, which
could hold the keys to the beginning of civilization on earth, and might also
point scholars in the right direction of ‘the
second coming’.
So therefore, in my personal and dully considered opinion;
these facts teleport Leonardo into a realm reserved for some of the most
brilliant Mages in our history..
To quote Frater: A.: A.: Menkheru's Note:" brethren and
sisters of Memphis
and mizraim should note that the facts referred to above are very important to
our rite. The unification of both rites in 1881 can be read as an allegorical
unification of the land of Egypt by geb and the ennead mentioned in the legend;
thus the ennead =9, which is an integral denominator in Nos. 18 &81:
9+9=18; 9X9 =81. AND THE 28 DEGREE POSITIONS Ne & se that marks the sun during the summer and winter solstices can
be read in several ways 28+28=56, the grade of
Adeptus minor; 28, It may also be rendered as 2(8) i.e.88; which you can see in
the middle of the number 1881. From 1996 the year of copyright of “message” to
2012 is sixteen years. 8+8=16.
Crunching more numbers,
we see that according to code-88eq “epoch”=21 also expressed as the lamechian
no. 777; the number associated with “the ever coming son” or shares the same
meaning with the etymology of the word Jew “IU” in “anatomy of god” according
to Frater achad.
Again “epochal” in
code-naeq6=78, the number of the tarot, comprising of 14, 4 suit cards and 22
trump cards; 7+8=15. According to the lamechian rite of aebrmln, Noah’s ark
comprised of 15 chambers; in the book of genesis ch.7 v 24, the waters flooded
the earth for 150 years or 10x15years. And in ‘hiramic’ legend, 15 fellows
originally conspired to get the word.
THOSE, WHO ARE ABLE TO
SOLVE These Mysteries’ are warned to BE AWARE OF THE SPHINX AND POWERS ASCRIBED
THUS; TO KNOW, TO WILL, TO DARE & KEEP SILENT. In other words, the adept
should know ways with which to veil occult truths."
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