This is the old Horus (
Aroeris),
the brother or alias of Osiris, in contrast to the new Horus (Harpocrates),
the son (or renewed avatar) of Osiris. "Horizon" here has the sense of
"Orient" or, rather, of Lanka (Indonesia), the Land of Sunrise whence both the
Phoenicians and the Egyptians, as well as their gods, originally came.
In
Fig.4 we have Egyptian representations of the sun rising between the two
peaks of the Mountain of the Orient. In Fig. 4(a) the mountain is represented
as a pylon or gate as in the Egyptian Temples.9
In
Fig. 4(b) the characteristic hieroglyph of the sun rising between the two
peaks of the Mountain of Sunrise is topped by the one of "heaven", as well
as by the Twin Lions (Acker or Ruty). The Twin Lions stand for Lanka ("the
Island of the Lions") and its Indian dual, Shri Lanka. They also represent
Orient and Occident (Rustu and
Amh). In reality, as we explained
above, the Mountain of the Orient represents Trikuta, the three-peaked
mountain on whose top Lanka, the capital of the Atlantean empire, was edified. As we said, the central peak of Trikuta sunk away, becoming the giant submarine caldera of the Krakatoa volcano that separates the islands of Java and Sumatra.
The "sun", here, is an allegory (just as
is the blooming lotus) of the colossal explosion of its central peak (Mt.
Atlas, the central pillar), an event that, according to tradition, was
"brighter than a thousand suns". The central peak collapsed and disappeared
underseas, leaving an open passage (a strait or "door") in its place. Hence,
the Triple Mountain became the twin pylons, the equivalents of the two
Pillars of Hercules. The central peak, Mt. Atlas, the Pillar of Heaven
having disappeared from view and leaving behind merely the glow of its
explosion, bright as a new sun became the "Door" they flank. And this "door" or "gate" is the Gateway of Heaven, symbolized by the pylons of Egyptian temples. In reality, this Gate of Heaven is no other than the maritime Strait of Sunda, in the Orient, replicated by that of Gibraltar in the Occident. Together, they form the Four Pillars of the World which the Egyptians allegorized as the four legs of Hathor as the Celestial Cow or as the four members of the goddess Nut posed on the ground, as illustrated in our discussion in Part I of this work. 10
Almost
invariably, the pylons of Egyptian temples were decorated with bas-reliefs
showing the king (the alias of the god) striking down masses of prisoners
in a display of his power. The king has a raised arm wielding the mace
with which the strikes down his victims. Again, this motif is, far more
than just a decoration, indeed another allegory of the destruction of Atlantis.11
As shown in the pylon of Medinet Habu (Fig.3(a))
and, more clearly, in Fig.5, below, the striking god often wears the triple
crown that symbolizes Trikuta, the triple-peaked mountain. This triple-peaked mountain, often with the central summit represented explicitly or, conversely, symbolized by a stunted, sunken down portion is also represented in the triple spires of Christian cathedrals and churches. The "sun" that shines at the center of the Holy Mountain of the Egyptians is an explicit representation of the colossal explosion of its volcano. In Christian symbolism, this "sun" is often figured by a rose-window, a symbolism taken directly from Hindu and Egyptian archetypes. The rose-windows represent the Golden Lotus, itself an allegory of the colossal "mushroom" generated by the giant explosion of Mt.
