>>10742814

(Please read from the start)

>> I’m going to repeat what I said before = seems like the king and the high priest were one and the same. Also it seems that I was going down the right path of thoughts when I said the site might match some stars = constellation or could have an astrological meaning or alignement.

A quick look at the Lanzon is in order:

https://en.wikipedia.org/wiki/Lanz%C3%B3n

“The Lanzón is a granite stella associated with the Chavín culture. It is located in the Old Temple of Chavin de Huantar which rests in the central highlands of Peru. The Chavín religion was the first major religious and cultural movement in the Andes mountains, flourishing between 900 and 200 BCE. The Lanzón itself was erected during the Early Horizon period of Andean art circa 500 BCE and takes its name from the Spanish word for "lance," an allusion to the shape of the sculpture. […].”

“Geographic location and significance

The Lanzón rests in the heart of Chavín de Huantar. This site at the time was on one of the few passes between the mountainous region of the coast and the dense Amazon. […]

Visual Analysis

The Lanzón is housed in the central cruciform chamber of a labyrinthine series of underground passages in the Old Temple of the ceremonial and religious center of Chavín de Huantar. Devotees would be led into the maze of pitch-black tunnels, eventually coming face to face with the sculpture. The worshipers' disorientation, in addition to the hallucinogenic effects of the San Pedro cactus they were given before entering, only heightened the visual and psychological impact of the sculpture. The imagery of the Lanzon is a complex series of line work which winds around each of the three sides of its floor to ceiling triangular form. Due to the imagery being divided, one would have to circumambulate the fixture in order to fully observe its design. The Lanzon depicts an anthropomorphic figure with a snarl, claws, and teeth akin to a jaguar. The being's hair flows in all directions, ending with the heads of snakes. The eyes are stylized, commonly referred to as pendant eyes. The carving is almost perfectly symmetrical except for one hand being raised with the other lowered. Additionally, there is special attention paid to the eyes, nose, lips, and teeth- deeper set carvings for these features make them project, due to the higher relief, it adds a greater feeling of ferocity.

Cosmology

The Lanzón expresses a fundamental motif within Chavín art: the jaguar. These representations vary from realism to stylized anthropomorphism, this particular stella falling under the latter category. The imagery of the jaguar occurs so frequently within Chavín art that it has been hypothesized that they were the foundation for the jaguar cult, worshipping the characteristics of these animals. […] Camay, the belief of an object being a conduit for a deity, is particularly significant when considering the function of the Lanzón. Though it was made of terrestrial material, the Lanzón housed a celestial being, the people of Chavín even brought it offerings of food and ceramics. Furthermore, the central image of the Lanzon functions as axis mundi, or pivot linking the heavens, earth and underworld. This concept is also reflected in the raised and lowered arms, one linked to the celestial and the other linked to the terrestrial. The opposite arms are also reflective of the reverence to duality. Opposites seen in daily life such as night/day, life/death, male/female were considered sacred to create balance.The importance of duality is also seen with the contour rivalry of the snakes and hair, the transformation between man and beast, and the geographical location between the arid mountain range and the lush amazon.Finally, a key cosmological belief within Andean society as a whole, tinku. This is the concept of multiple parts converging to create something wholly new. The strategic geographic location of the Lanzón is placed at the convergence of the Mosna and Wacheqsa rivers.”

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>>10755382

(Please read from the start)

>> This lanzon is simply amazing!

The first notable is the duality and the hands positions remind me of how baphomet is represented and the concept he represent. There are no traces of human sacrifices with the Chavin culture. So I don’t think they were worshiping baphomet there = they were not satanists. What do I think? Well, I’ve found a pattern for some time now in the many digs I’ve been doing and reading around. This pattern consists of many symbols that were initially “good” but they were hijacked and twisted by “evil” and then adopted by them. As example I can give you the symbol of Archangel Michael we’ve seen in page 132. I think these symbols have a deeper meaning and their authentic meaning is very different than what we think NOW. It’s going to take us a bit of time to uncover the truth behind them and what they truly represent, symbolize. And I think this MIGHT be the reason WHY (((they))) are so attached and obsessed with symbolism.

The second notable about the Lanzon is the type of animal in question. It seems Main Stream historian have put in the feline category, in this case it’s Jaguars. But I think this needs further examination and I won’t be surprised to find out (if it wasn’t really a jaguar) that the Lanzon is some type of “fabulous” animal, like the ones we’ve been seeing in this thread from time to time.

The third and last notable is the “function” of this Lanzon. It reminds me of the Djed (pages 102-104) or even more of the Obelisk (starting page 193). It also reminds of the TREES we’ve been seeing in many civilizations and cultures. It’s like an object used to channel spiritual energy….and if we add that it should represent an animal, as in a living being…..so it’s making me wonder if the spiritual energy is not done by SOMEONE instead of a SOMETHING. This supposed Jaguar on the Lanzon, does it really represent an animal or is it something else? Like maybe, JUST MAYBE, a family crest or a coat of arms, representing a clan or a ruling family.

This thought has been fluttering in my mind for some time now. What thought? The thought of the “fabulous” animals we’ve been seeing in all the cultures and civilizations, not being truly animals, but some, SOME might be actually representing people through symbolism of the coat of arms. I’m specifically thinking about the Griffin in the 2 dogs palette (page 120) and of all the SNAKES/SERPENTS we’ve been seeing nearly in every culture. What if those are real people represented by the coat of arms of their clan? While the other animals like the serpopard (page 119) were animals that went exitinct during and because of the cataclysm later on.

Just some thoughts there anons. Just some thoughts….. It’s better to dig up the rest of the puzzle pieces before being a 100% of the animals representing coat of arms. Right now, my thoughts are forming and building. Let’s see where this is going to lead us.

Let’s continue with the Chaving culture:

“The Chavin buildings and spaces used for ritual were constructed to elicit an experience, and encompassed many of the overall architectural facets described previously. Two of the most well-noted ritual spaces include the Old Temple and New Temple, with a shift to the New Temple as time progressed.[28] Both temples featured pathways and deity worship spaces on the north and south wings.[28] In addition to this, the temples, most notably the Old Temple, had deities carved into stone.[29] The temples were conformed into a U-shaped area, encompassing a circular plaza.[28] The temples featured ceremonial chambers and sacred hearths.[28] Another important structure designed and utilized for ritual included plazas, of which there were many. The Circular Plaza in particular and the Square Plaza were two of the sites primarily focused around ceremonial activity.

Within the Chavin site was a structure which revealed rooms and galleries, speculated by archaeologists to be used as “ritual chambers” for a variety of ceremonies, including what could have been a ceremony surrounding fire.[28] Major use of underground space in the form of stone-lined galleries that are often like labyrinths and run through the monuments’ major platforms and mounds has been speculated to be a center for religious activity where ceremonies occurred in several different contexts involving both audiences and participants.”

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