SO WHAT HAS THIS GOT TO DO WITH THE MORIORI STICK FIGURE?
We're getting there, but we'll have to introduce another very important Megalithic British symbol first.
The totality of the star and cross pattern geometry develops into a 64 square calculation matrix, used on the more sophisticated sites like Stonehenge for taking star fixes and calculating angles. So let's return to the 64 square pattern and introduce its 36 (360 degree) perimeter chevrons...as is found on the Bush Barrow Lozenge artefact from the Stonehenge region.
Figure 41: The Bush Barrow Lozenge, a 4 part concentric design that appeared on beaker funerary pottery of Megalithic Great Britain and on "Tapu cloths" of the South Pacific. There are 36 calibration chevrons around its perimeter, 9 per quarter of the Earth (3 spaces per side allotted to each of the houses of the zodiac to dwell in).
The layered star and cross pattern geometry, culminating in 64 squares, also requires the 36 chevrons in order that the calculation matrix be complete.
Figure 42: The natural outcome of placing the chevron into the layered geometry, within the 12-pointed star of the zodiac is a curious geometric effect in the corners. It was first noticed when I was working out the geometry of the Waitapu standing stone circle in Northland, New Zealand. The geometry naturally creates a little squatting figure like a grasshopper crouching on its haunches. It was enticingly familiar from some half forgotten source and it took 3 days before I figured out where I'd seen it before.
Figure 43: The grasshopper character, squatting on his haunches.
PARADISE LOST AND PARADISE REGAINED.
In the Egyptian funerary tradition, as the body of the deceased was lain in its final resting-place, a circular disk, covered in hieroglyphic writing, was placed beneath the head. These disks varied to some degree, as to the material used in their construction.
Some were cast out of a slab of Nile River mud, others were made of a simple piece of papyrus and yet others of a mix of materials such as layered cloth and perfumes. The Egyptian funeral industry was now in full flight and everyone, seemingly, was concerned about ensuring safe passage for themselves in the journey of the afterlife. The burgeoning funeral industry had developed from fairly humble beginnings reserved, for the most part, for Royalty wishing to emulate the resurrection tradition of Osiris.
According to Egyptian mythology, the mutilated and segmented body of Osiris had to be gathered in, piece by piece, from scattered locations around the World and joined together by Isis, with a lot of help from Nephthys. All parts were located and restored, bar one distinctly male appendage, which is still out there somewhere and is supposed to represent the ultimate talisman of power and magic. The idea that developed from the successful restoration of Osiris's body and life force was, amongst other mortals, "if it worked for him it can work for me"!
At some unknown point in Egyptian history a religious concept arose wherein every attempt was made to keep the body of a newly deceased person intact and preserved for later resurrection. Early funerary tradition was considerably simpler and less cluttered than what it became as the golden age of Egypt wound down. Toward the last, even the minions of society were getting in on the resurrection quest and arming themselves with every magic potion, amulet or spell necessary before venturing off into the unknown.
The Egyptologist, James Henry Breasted mentioned how, 'The magical formulae, by which the dead are to triumph in the hereafter, become more and more numerous, so that it is no longer possible to record them on the inside of the coffin, but they must be written on papyrus and the roll placed in the tomb...the 'Book of the Dead' began to take form. All was dominated by magic; by this all-powerful means the dead might effect all that he desired.' (A History of Egypt, pages 205-206).
The newly deceased person was venturing out on a perilous journey, fraught with many dangers. The goal was to get to the constellation of Orion and the "Book Of The Dead" text, along with other accompanying paraphernalia, would ensure safe arrival, after a voyage of up to 2 years duration. The Book Of The Dead gave instructions on how to get past obstacles and all necessary secrets for correct orientation to the goal. On pages 293-296 of the same book, James Henry Breasted adds these comments: 'There were sumptuous and splendid rolls, sixty to eighty feet long and containing from seventy-five to as many as one hundred and twenty five or thirty chapters... the Book of the Dead itself, as a whole, is but a far reaching and complex illustration of the increasing dependence on magic in the hereafter... Besides many charms which enabled the dead to reach the world of the hereafter, there were those which prevented him from losing his mouth, his head, his heart, others which enabled him to remember his name, to breath, eat, drink, avoid eating his own foulness, to prevent his drinking water from turning into flame, to turn darkness into light, to ward off all serpents and other hostile monsters, and many others.'
In further commenting on how the funerary practices developed, in stages of ever increasing complexity, James Henry Breastedwent on to say, 'The desirable transformations too, had now increased, and a short chapter might in each case enable the dead man to assume the form of a falcon of gold, a divine falcon, a lily, a Phoenix, a heron, a swallow, a serpent called 'son of earth', a crocodile, a god, and, best of all, there was a chapter so potent that by its use a man might assume any form that he desired.'
The single funerary object, placed like a pillow beneath the head of the deceased, was called a Hypocephalus and it had intricate designs on it. Most of what it says is purported to be decipherable, but there still appears to be vagueness, amongst Egyptologists, as to its deeper significance. When a hieroglyphic language was once considered "dead", whereupon its meanings have had to be painstakingly restored, there is no assurance that the deeper subtleties and meanings can ever be fully retrieved. In comparison to the natural geometric design that has emerged from the Waitapu Observatory, a central portion of the Hypocephalus becomes quite intriguing. At the very centre of the Hypocephalus, a position that one could call centre stage, is a crouched or squatting figure that looks remarkably like the corner design, in geometric terms, of the naturally occurring universal geometry.
Figure 44: The Egyptian Hypocephalus funerary amulet. Repeatedly, in this hieroglyphic depiction, the crouched figure is always represented as having 4 Rams heads, two which appear to face left and another two facing right. The angles of the heads on some Hypocephali, seem to strongly suggest that they, in fact, face to the four points of the compass or, as the ancient people are quoted as saying, 'the four quarters (or corners) of the Earth'.
The presence of "Rams" heads would indicate the "King of the Gods", Amon-RA (also rendered Amana, Amun, Ammon or Amen).
12 intersection points of the zodiac star seem to be appropriate positions for establishing intermediate circles between the hub and outer rim of the site. 4 of these intermediate circles conveniently coincide with the corners of the 64-square matrix and, simultaneously, the head position of Amon-RA.
All in all, a geometric replica picture begins to emerge which looks remarkably like Amon-RA, the King of the Gods.
Figure 45: Three items stemming from the universal geometric astronomical method and all relating to Amon-RA the Sun God. To the left is the squatting figure of the Hypocephalus. In the centre is the geometric figure, naturally generated by the overlay of star & cross pattern lines, in conjunction with the 36 part chevron of the Bush Barrow Lozenge and the 12-pointed zodiac star. To the right is one of the Moriori figurines, which more than fairly duplicates the diamond body shape and squatting configuration of the middle picture. Each variable figurine originating with the Morioris, accentuates important features of Amon-RA, as depicted in the Egyptian Hypocephalus.
Figure 46: The Moriori figurines of this series accentuate the cross stripes on Amon-RA's body trunk and, as with each of the Moriori representations, the staffs balancing on the knees of Amon RA are depicted as arms and hands..
The crouched figure, found upon Egyptian Hypocephali, appears to have an elaborate triple circle crown atop the ram's heads. When one considers that each of the PHI reducing, concentric circles of the Waitapu Observatory had its own set of 72 overlapping calibration circles, one begins to see where the concept of the circular triple-crown came from. Moreover, the straight-line geometry of the 12-pointed star creates the elongated "plumes", which are seen on many statuette or pictorial representations of Amon-RA.
The crouched figure on the Hypocephalus has many other features that duplicate the corner, geometric figure of the universal geometry. There are seen to be elaborately designed staffs sitting on both knees, but leaning outward and an "X" between the legs.
What the staffs would represent, in the universal geometry, are lines that cut through the 64-square calculating matrix at precisely this location. They are naturally created as parts of a ray of the 12-pointed star (Star of Gilgal or zodiac star) with a spread of rays of 30-degrees (the length of one house of the zodiac). These two outgoing lines are clearly seen to traverse the position of the "knees".
The two staffs are very recognisable symbols that appear in "occult" literature and were, in more modern times, associated with magical pentacles (see, The Discovery of Witchcraft, by Reginald Scot, page 401... Based on an earlier book first published in 1584).
Lines forming the 12-pointed zodiac star return back and traverse the site. These returning lines are symbolic, I believe, of the elaborate, "long plumes" of the "double plumed" crown of Amon-RA.
There is sometimes confusion as to which "crown" belongs to whom and other Gods are often depicted wearing the "double plumed" crown. Amongst these are Min, Mont, Ptah and Seshat. The aforementioned lines that make up the "staffs" can also be, in a second interpretation of symbolism, the downward, hanging portions of the long plumes seen on Amon-RA statuettes or hieroglyphic representations. All are, in geometric terms, simply the lines that make up parts of the 12-pointed zodiac star.
Look very closely at the "body trunk" portions of both the Hypocephalus and the geometric figure and take notice of the following:
1. The manner in which the body trunk tends to be wider at the base and recede, in conical form, back to the neck. This is visually consistent on both the Hypocephalus and in the universal site geometry.
2. The "X" between the legs. This is duplicated in 2 possible ways in the universal geometry. The first way is based on the 64-square matrix corner squares, where the lines, converging at 90-degrees to each other, form an "X" in this position (if not slightly lower) between the legs of Amon-RA.
The second way of looking at the "X" being alluded to, would be based on the very partial crossing of the "V" lines that make up the "chevron" pattern, ringing the 64-square matrix and contained within the outer run of squares. That "X", as seen in the site geometry, is quite flattened, but does reside in the correct position. I feel that this is the real "X", as it is an integral part of the body trunk of Amon-RA.
3. Note how the lower body region of the Hypocephalus, adjacent to the flattened "X", tends to be drawn to a lower, extended level from where the legs are seen to protrude from the conical body trunk. This is consistent with the way that the site geometry forces a partial overlap of the chevron "V's" and the legs on the geometric figure protrude from this slightly higher area of the "body".
4. The "horizontal cross lines and spaces" portion of the Hypocephalus figure's body trunk are, I believe, highly significant and tell us exactly what activity the figure was employed in doing. You will note that there are a series of "stripes" running, horizontally, across the body. It could be interpreted that there are either 5 or 6 lines and 5 spaces between lines. The top line of this series could be interpreted to be more in keeping with the ancient scribe's need to give the upper chest of Amon-RA some definition.
There remain, therefore, at least 5 horizontal strokes of lines and each stroke represents, I believe, 1- degree of arc in a 360-degree circle. What happens at Waitapu and, logically, at all circle observatories built to the standard formulas, is that each calibration ring is divided up into 72 segments of 5-degrees each. Alternatively, the outer extremity ring, in another reading of the site layout, is divided up into 60 segments of 6-degrees each. The option was always available to establish any sought after segmentation on the concentric PHI circles, as required, for customised angle results. Alternatively, the Moriori figurines show 4 or 5 stripes, counting the shoulder to elbow stripe.
The nose region of many Maori Moko's (Maori warrior facial art or tattooing) is predominantly made up of a series of "cross stripes" which duplicate this feature of the Hypocephalus.
The similar, horizontal lines on the staff of Amon-RA need, also, to be considered, as does the entire design of the staff. The horizontal lines are, probably, another calibration feature, referring to either 3 or 4-degrees or possibly to a measurement.
In Egyptian motifs a similar staff, with this "top hook and horn" feature, is often clearly depicted with a traditional "plumb-bob" bottom end and, I believe, it was a functional, solid plumb-bob that could be hung down the vertical face of a wall.
Such a tool would have been very useful at Stonehenge. A pattern, tantalisingly similar to the "hook and horn" design, is also found in some Maori Moko's, located at each side of the mouth and positioned above the lips (see Angas's painting).
Figure 47: A possible depiction of the hook & horn staffs in the Maori Moko. Some Maori consider these symbols to be two eels and if that is the correct interpretation then it refers to the dual snakes found throughout Egyptian to Celtic cultural expression. There are no snakes in New Zealand and the eel is about as close as we can get to a snake.
Figure 48: A hook & horn staff, not dissimilar to the Egyptian type, was found in Lake Horowhenua by Archaeologist, Leslie Adkin.
5. On the Hypocephalus crown of Amon-RA, a wavy line, with 2 birds sitting on it, is seen. I believe that this is an abbreviation for a series of interrelating circles, taken from the original circle based calibration geometry and metamorphosed into picture and symbolic form, consistent with the "reassurance needs" of the developing funerary industry. One of the Moriori figurines does not display a head, but substitutes a crown-like configuration into the head region.
6. On either side of the crouched figure are rows of baboons and, in Egyptian religious tradition, the head of the baboon is associated with the God "Hapi". This God (Hapi) is also depicted as a bearded man, coloured green or blue and, because Egyptian religion found its way by population migration into so many universal belief systems, Hapi is, I believe, the "Green Man" of Celtic religious tradition. The baboons appear to be in queues, which approach the crouched figure and are seen to be holding their arms on a similar angle as the "V" chevron component of the Bush Barrow lozenge design (duplicated whenever the chevron is added into the universal geometry). In fact a very distinct "V" is seen in the combination of upward inclined forearm and downward inclined neck to elbow.
7. The number of baboons changes from one Hypocephalus to another, but there is a common consistency in that they each carry a circle on their heads. The same thing (geometrically) occurs on sophisticated standing stone circle sites, where there are 72 calibration circles placed on each concentric row of PHI reducing circles. The function of the circles (which could be produced as needed via ropes or rods swinging from carefully marked fulcrums) was to calibrate the perimeter and inner circles into increments of 5 degees.
On the hypocephalus the baboons approach the "crouched figure" carrying circles on their heads. It is significant that the "orbs" represent the Sun in passage through the sky and that Amon-RA is the "Sun God".