As we explain elsewhere in detail, these strange decorations are all typical Atlantean motifs. Atlantis and its many aliases such as Punt, Ophir, "Tyre", "Phoenicia", Phaeacia, etc. is often symbolized by a huge ship that sunk to the bottom of the
seas, as described in Part I of the present article. This ship is the same as the Holy Barque of the Egyptian temples. It is also the Celestial Ship, the Argonavis constellation, as well as the Ark of Salvation, the Argos ship, and so on, as we adduced further above.
Likewise, the twin cabins shown at midships of the vase decoration of Fig.3(c) are visibly the archetypes of the sacred pylons of the Egyptian temples. So, they too represent the twin Pillars of Hercules, the Gates of Paradise, that is, of Atlantis, as we already said. The fact that they represent the twin mountains of Punt (Paradise) is directly indicated by the hieroglyph of the twin mountain on top the two cabins and on the standard of the ship. Again, the ithyphallic twins represent Atlas and Hercules and, more exactly, Seth and Osiris, their Egyptian counterpart. If this interpretation is correct, we see here the antecedents of these important Egyptian gods, as well as that of the Tale of the Two Brothers, famous in both Egyptian and Phoenician mythologies.
The Dancing Goddess is another important, universal motif. She is Hathor, the Great Mother, as well as the Shulamite of the
Song of Songs, dancing before the two armies ready for battle (the Battle of Atlantis = Armaggedon). She is Dawn or Aurora (Ushas, Eos), and represents Lemurian Atlantis (Eden), the Great Virgin Mother of both gods and men. Her "dance" is the fatal dance which allegorizes the earthquake that razed Atlantis, sending it to the bottom.
In reality, the Goddess personifies the Cosmic Yoni, the Submarine Fiery Mare of Hindu myths, the gaping abyss opened by the cataclysm, and which is no other than the giant volcanic caldera of the volcano that destroyed Atlantis. The ithyphallic Twins are, again, the other two peaks of the holy Triple Mountain of Paradise, with the "sun" at the center representing the third, collapsed peak, the Vadava-mukha. The Triple Mountain was the site of Paradise (Lanka or Atala) in Hindu traditions, and its central peak was deemed "the Pillar of Heaven", just like Mt. Atlas.
The palm trees are again connected with Atlantis. They represent the Primordial Phoenicia, a name signifying "Land of the Palm Trees" in Greek. This name is a translation of the Hindu name of Atala, which means the same thing in Sanskrit. The streamers and standards again identify Punt with Atlantis and, more exactly, with the Indonesian sunken continent. They are the glyph of Punt, as well as the symbol of the Pillars of Hercules in Phoenician traditions. In reality, the streamers visually translate the ancient local name of the Malay Peninsula, Setubandha (called Punt in Dravida), which means "Connecting Band" or "Connecting Bridge" in Sanskrit.
The Pylons Represent the Pillars
of Hercules
The above comments are very enlightening in
what concerns the symbolism of the pylons of Egyptian temples. First of
all, let us moot out the fact that they represent the twin peaks of the
Mountain of the Orient (or "Horizon") between which the sun rose daily.
This mountain was in the whole of the Ancient World, and not only in
Egypt considered to be the abode of the sun-god. In fact, as we already said, the twin peaks of the Mountain of the Orient and the Occident which is so prominent in Egyptian and in Phoenician mythologies, ultimately derives from the Hindu traditions on Mt. Meru, called by precisely these epithets in India. The twin peaks of Meru are called, respectively, Sumeru and Kumeru, the radix
su meaning "to rise" and
ku meaning "to sink" in Sanskrit.
One aspect of Horus (and of the Great Sphinx)
was called
Horemakhet (or
Harmakhis), that is, "the Horus
of the Horizon" (or of the Orient).
