Reptilian videos???

[Cdude]

Deze is een vrouwtje zo te zien.
Linkje zou leerzaam zijn

[Óglaigh na hÉireann]

Ik had toch wel van een Turkse Hollander verwacht dat ie wat van satelliettelevisie afweet... Als er een wolkje tussen uw schotel en de turksat verschijnt, moeten er toch gelijkaardige foutjes in het beeld optreden terwijl u naar het TRT-nieuws kijkt? Zo gaat dat nu eenmaal met die digitale toestanden: het beeld "freezet" bij een onderbroken straalverbinding.

Ik kan je op een blaadje verzekeren dat degenen die zich inlaten met reptilians en UFO-ontvoeringen bijna allemaal (ex-)verslaafden zijn. Zoals in de film "Wrong Turn at Tahoe" met Cuba Gooding Jr. Daarin is er ook een heroïnejunkie te zien die meent door aliens ontvoerd te zijn.

[Cdude]

Oorspronkelijk geplaatst door Óglaigh na hÉireann

I
Ik kan je op een blaadje verzekeren dat degenen die zich inlaten met reptilians en UFO-ontvoeringen bijna allemaal (ex-)verslaafden zijn. Zoals in de film "Wrong Turn at Tahoe" met Cuba Gooding Jr. Daarin is er ook een heroïnejunkie te zien die meent door aliens ontvoerd te zijn.

Zegt dat ook eens op het Alien topic, als je durft

[Bovenbuur]

Oorspronkelijk geplaatst door Johnny Blaze

Neen, beeldje was gevonden in Irak en gedateerd op 4000VC als ik me niet vergis.

En het lijkt erop dat het een vrouw met een baby moet voorstellen. Dus?

[Micele]

Oorspronkelijk geplaatst door Bovenbuur

En het lijkt erop dat het een vrouw met een baby moet voorstellen. Dus?

Lijkt wel zo, borstvoeding of "de fles" ?
En het moedertje lacht een beetje


Hier een vrouwtje zonder baby, zou 4500 BCE zijn, maar er zijn nog oudere...
(ik surfde even op ubaid reptilian: http://www.google.be/search?sourceid...baid+reptilian )

http://www.worldartmuseum.cn/content/918/4107_1.shtml

http://www.worldartmuseum.cn/content...927/004338.jpg



This female figurine is one of many such distinctive representations from the site of Ur dating to the Late Ubaid period, ca. 4500 BCE. Broad, angular shoulders and narrow waist are characteristics of the type. In this example, the hands are placed just above the hips in an almost defiant pose and incised lines indicate fingers, legs, and the pubic region. Appliqu¨¦ dots appear at the shoulders and back and five narrow holes are pressed into the blunt nose and the chin near the thin, slightly upturned line of the mouth. The thick neck supports a large, triangular head with elaborate hairstyle. The hair is shown in bitumen-coated clay rising in a high, upright fashion. Eyes are rendered by heavy, angled cuts into thick, raised eyelids reaching from the blunt, punctated nose to the back of the head. These large, strangely reptilian eyes are the most distinctive feature of the form, causing many to label the type ¡®lizard-headed.¡¯

When this figurine was uncovered Sir Leonard Woolley, director of the Ur excavations, described the type as ¡®deliberately grotesque¡¯ and ¡®half-human.¡¯ He said that the body was ¡°by no means unpleasing¡± but that the head was ¡°unduly large [and] absolutely reptilian in character¡± (Woolley 1955: 12). It was his opinion that such figures represented creatures or deities of the underworld and that the appliqu¨¦ pieces at the shoulders could have been meant to signify scales. He points to the fact that the deity Ningizzida was associated with snakes and that the god himself could be represented in a human form covered in scales.

Of course, Ningizzida is a male deity while the vast majority of these figurines are female. Furthermore, the most complete male figurine was found in a woman¡¯s grave. The essence of the type, then, would seem to be geared to the feminine, perhaps as a symbol of fertility or of nurturing. Indeed, in some examples, the woman is shown nursing a child, who also has an elongated head with bitumen hair. The rare male figure, too, conforms to this style, with hands at waist, large appliqu¨¦ dots at shoulders, high bitumen hair and curious, lizard-like eyes.

The fact that many of these figurines (including the one shown here) were found in burials indicates that they were votive or religious in character ¨C they were given to the dead to take with them or act for them in the afterlife. They could represent earth deities, but it seems unlikely that they were all meant to represent Ningishzida. Instead, it is possible that the figures were formed in a particular artistic style of the period, meant only to represent people as they were pictured in the minds of artists. Perhaps the figurine was even meant to represent the dead person herself. The skeletons with which most of the figurines have been found were not well preserved, but in many cases, the body was laid out on its back with hands at the pelvis, similar to the pose of the figurines. It is therefore possible that we are gaining an insight into the perception of people and social practices in the Ubaid period through these pieces.

Figurines of this type are always nude, but some have painted circles around the waist, neck or wrists indicating belts or jewelry. Because there are no signs of a garment, the small circles and ovals placed at the shoulders may indicate ritual scarring or tattooing on the nude form. Similarly, the holes at the nose and mouth may indicate intentional piercings. The two at the sides of the nose are almost certainly meant to represent nostrils, but the other three are likely to be holes for labrets or rings in the lower lip and nasal septum.

In fact, body decoration seems to have been common in the period. In addition to beaded jewelry, smooth, button- or spool-like objects interpreted as labrets for insertion into pierced lips are common in Ubaid levels and well before. At Choga Mami near Mandali (Iraq), labrets were found in building levels of the Samarran era as were figurines that are quite similar to those (somewhat later, Ubaid period) from Ur. These figurines, from about 6000 BCE, help to show the progression of the style. They have a great deal of marking on the nude form, typically in short parallel lines or a series of dots, probably indicating tattooing or body painting. In many cases, they also clearly show pierced and studded lips, cheeks and ears. The eyes are heavy, large, and deeply cut and have the addition of painted lines on the eyelids that seem to signify eyelashes.

It is often suggested that the eyes of the figurines at Choga Mami and at Ur resemble coffee beans. But coffee beans also resemble cowrie shells, which were used to reconstruct eyes in decorated skulls of the Pre-pottery Neolithic B period, particularly at Jericho, ¡¯Ain Ghazal and Tell Ramad in the Levant. In an apparent form of ancestor worship or apotropaic ritual, these human skulls, mostly females, were covered in plaster to represent flesh and cowries were often inserted into the filled eye sockets, recreating a human face. The shells are a good approximation of the shape of an eye, but they have a long slit rather than a pupil-shaped hole. They also have raised lines along the slit that radiate outward in the way that eyelashes radiate from eyelids. Thus, the form may indicate closed or half-closed eyes. Perhaps this was the ideal artistic vision of eyes in general, beginning in the Later Neolithic, around 7500 BCE, and continuing for at least 3000 years in the region.

Figurines in this peculiar representation of the human form are common in the Ubaid period and are found across Mesopotamia with a concentration in the south at Ur, Uruk and Eridu, and in the north at those sites that seem most influenced by the Ubaid culture, sometimes called Ubaid ¡°colonies.¡± Despite the reptilian features, figurines of this style are probably meant to correspond to the concept of people in general, perhaps those in a special position in society with special markings. They may even indicate that some of the Ubaid peoples were subjected to a form of head binding in infancy, causing the skull to ossify in an elongated form. Whether they are representations of the divine or the mundane, however, such figurines give us insight into the people who made them as well as their image of themselves and their existence in a time so far removed from our own.

William B. Hafford

Bibliography

Kenyon, Kathleen
1966 Archaeology in the Holy Land. New York.

Oates, Joan
1969 ¡°Choga Mami, 1967-68: A Preliminary Report.¡± Iraq 31, pp. 115-152.

Safar, Fuad, Mohammad Ali Mustafa and Seton Lloyd
1981 Eridu. Baghdad.

Schmandt-Besserat, Denise
2002 ¡°From Behind the Mask: Plastered Skulls from ¡¯Ain Ghazal.¡± Origini 24, pp. 95-139.

Woolley, Sir Leonard
1955 The Early Periods. Ur Excavations, vol. 4. London and Philadelphia.

Source: Beijing World Art Museum
- - - - -

Er zijn er nog:
http://www.bibliotecapleyades.net/su...reptiles40.htm



Hier het manneke aan zijn edele (onder)delen te zien.


ASHES CONFIRMATION

Another key lecture given at the San Marino conference in March was that by Vittorio di Cesare, one of Italy’s top archaeologists. He started with an account of the Dead Sea Community at Qumrn and the discovery in 1947 of the Dead Sea Scrolls, hidden by members of the community in caves in an attempt to preserve their history and teachings for future generations.

Di Cesare then turned his attention to one scroll in particular. Known to Hebrew scholars as the Testament of AMRAM, it was written around 200 BC. He said it concerned two strange beings that appeared to Amram, the father of MOSES. One was unnamed (although in my translation of the fragmentary text he is identified as MICHAEL or Melchizedek), while the other was BELIAL, the teacher of the Children of Darkness. Amram is asked to choose between the two, who represent, respectively, the truth and the lie.

This was a concept that came originally from the Iranian religion of Zoroastrianism. It entered the Jewish religion at the time of the Babylonian captivity following the conquest of Babylon in the mid sixth-century BC by the Persians under Cyrus the Great. Yet it was the appearance of Belial that di Cesare focused on. The being is said to have been dark with a VIPER-like face and “blazing eyes”.

SERPENTS, he said, are universally associated with the principles of knowledge and wisdom.

Di Cesare showed next a slide of one of the SNAKE-headed clay figurines found with frequency by Sir Leonard Woolley alongside burials excavated during the 1920s at sites in Lower Iraq. Many, for instance, were found in cemeteries at UR, the former great city identified by scholars as the biblical “Ur of the Chaldees”.

Since the level at which these figurines was found corresponded to the time period in which Iraq was inhabited by the so-called Ubaid peoples, who came originally from the ZAGROS mountains of Kurdistan, it meant that they dated to c. 3500 BC (although di Cesare spoke of them as dating to 6500 BC). Di Cesare said that mystery surrounded the purpose of the statues, which showed males, females and females holding babies.

He suggested that they were buried in order to protect the souls of the dead and to prevent the deceased from becoming victims of Vampires, a common belief among the peoples of ancient Iraq.

Di Cesare saw the Ubaid statues as representations of the same SERPENT-like figure featured in the Testament of Amram.

He went on to propose that these beings were an actual RACE that lived in the Near East in prehistoric times and were responsible for providing the knowledge of civilization. All these matters are dealt with in great detail within my own books FROM THE ASHES OF ANGELS (1996) and GODS OF EDEN (1998). As you can imagine, I sensed what only can be described as a slight case of deja vu the same feeling I experienced when reading Christopher Knight and Robert Lomas book URIEL’S MACHINE.

I listened carefully as di Cesare turned his attentions to the significance played by the abstract EYE goddess statues found at a temple site called Tel Brak in northern Syria. These, he said, were yet another link to the SERPENT cult. Yet he failed to note that the veneration of the EYE in the Near East derived from its associations with the vulture, the ultimate symbol of the Neolithic cult of the dead, which went hand-in-hand with SERPENTINE symbolism.

Di Cesare then showed slides of other “guardian” statues from Palestine, Syria and even Italy that bore a resemblance to the Ubaid figurines, suggesting that these were likewise connected with the same tradition. This is a matter I also deal with in FROM THE ASHES OF ANGELS, published in Italy in 1997 under the title GLI ULTIMI DEI (“The Last Gods”) by Sperling and Kupfer.

In here I point out that the beak-like faces of these statues, some of which have cobra hoods (and are thus representations of ASTARTE, the Canaanite form of EVE, the SERPENT mother of the Nephilim), derive from the earlier association between SERPENTS and abstract vulture symbolism.

Di Cesare went on to show a slide which featured a group of Mesopotamian figurines that he said were Anunnaki, the Sumerian pantheon of lesser gods.

Like me, he too identified these beings with the strange figures featured in the Testament of Amram and the Ubaid SERPENT-faced figurines.

http://www.bibliotecapleyades.net/vi...atchers13a.htm

Testament Of Amram

(4Q543, 545-548)

extracted from 'Dead Sea Scrolls Uncovered'
by Robert Eisenman and Michael Wise

The Testament of Amram, if indeed we can call it this - Amram per se is mentioned only in Manuscript C - is one of the most splendid apocalyptic and visionary works in the corpus. In it, many of the themes we have encountered in the works discussed above come together in a fairly rationalized eschatological whole.

These include the usual ‘Light’, ‘Darkness’, ‘Belial’, ‘Righteousness’, ‘Truth’, ‘Lying’ and ‘Watcher’ vocabulary, including the very nice allusions to ‘sons of Righteousness’ - which we have already identified as a variant of the ‘sons of Zadok’ terminology - ‘sons of Light’, ‘sons of Darkness’ and ‘sons of Truth’, again widely disseminated through the whole corpus.

Added to these we have the very interesting allusion in Manuscript B to ‘serpents’ and ‘vipers’ encountered in many texts from Qumran (e.g. CD,v.14), not to mention a well-known parallel imagery in the Gospels (Matt. 3:7, 23:33, etc.).

Though we cannot be sure that the several fragments and manuscripts represented in this reconstruction in fact belong to the same composition, nor that they can be sequentially arranged in the manner shown; there are, in fact, overlaps which seem to indicate multiple copies of a single work and, in any event, they can be grouped typologically together. In addition, because of internal and external similarities, they are probably part of a cycle of literature associated with Moses’ father Amram.

This, in turn, is related to the Testament of Kohath material and the Levi cycle in general.
...]

[Micele]

Oorspronkelijk geplaatst door Cdude

Linkje zou leerzaam zijn

Te dom of te lui ? Tjonge toch.

Rol nu maar met uw vele oogjes.

Oorspronkelijk geplaatst door Cdude

Denk je nu echt dat ik dat niet had kunnen opzoeken?

ttttt...