Alignment of Ushtogai Square to Vega

The Ushtagai Square is angled to fit an invisible three-by-three square aligned to the North Pole. This grid could be to help lay out the square but then why make it angled to the diagonal of the double squares within the grid?

Figure 1. A Google Earth image of Ushtogai from above with yellow lines along its sides conforming to a 3-by-3 square aligned to north. The square sides of the monument obviously follow the angle of the double squares within the grid.

Following on from the first article, for some time I have been looking at northerly alignments within megalithic monuments as a possible siting mechanism for the circumpolar stars.

For example, the Le Menec cromlech in Brittany is a large Type 1 egg that this series of articles explores as having been a sidereal observatory, whose outputs formed The Alignments of Carnac, to the east. Modern observatories use sidereal or star clocks, and the circumpolar stars around the North Pole are such a clock. These stars directly show the rotation of the earth, from which the sidereal day can be tracked. (please use the search box for “sidereal” and “circumpolar” for a range of articles about this)

Monuments such a Gobekli Tepe, that predate the familiar megalithic periods, alignments to the star Vega are particularly interesting: around 12.500 BC, the ice age had a lull and Vega was the pole star. The northern alignment of Gobekli’s enclosures B, C and D, suggest Vega was being tracked there, around 9900 BCE (years before the current era).

Figure 2. A typical T-shaped stone of Enclosure D at Gobekli showing a “vulture” . The star Vega, in the constellation Lyra, was seen as a vulture or “falling one” and, in the mid section, one sees a vulture and a round shape that is probably that star, once Pole Star, but now departed from the celestial North Pole. © DAI, Göbekli Tepe Project for UNESCO.

The Ushtogai Square is thought to be at least 8000 BC and if the above alignment of 26 degrees, for a double square, were used to see Vega above the NW side of the square, then that would need to be around 9200 BCE (according to my planetarium program CyberSky version 5, see figure 3).

Figure 3. The upper area is the north pole and Vega on the celestial earth, looking north. Below this, the earth-coloured panel (north at the top) shows the north-west side of the Square of tumuli as an alignment to Vega in 9200 BCE.

The last ice age ended with a Maximum, but people were soon move around Eurasia: on the steppes, in Ushtogay where nomadism could flourish, and in eastern Turkey at Gobekli Tepe, at the head of the forthcoming Neolithic revolution. Such monuments display an advanced astronomical alignment and counting culture. This makes prehistory a lot more interesting, as to how and why there was such an early interest in matters cosmic.

In January, my new book will be published pushing this story forward. One in a series on such matters, it is called Sacred Geometry in Ancient Goddess Cultures because the ice age tribes were often organized around women and some “goddess” cultures seem to have been very interested in sacred geometry*. Matrilineal tribes had a social structure able to live off the land and with a large natural workforce (an extended family who were not farmers) such groups could achieve monumental works such as the Ushtogai Square.

*Such geometries were studied in my earlier books, Sacred Number and the Lords of Time (2014) and Sacred Geometry: Language of the Angels (2021).

Notes

  1. A previous exploration of the geometry of Ushtogai, onto which my proposed alignment to Vega can be added, is found in this pdf: A massive neolithique geoglyph … orientation … to cardinal directions (on academia.edu) by Howard Crowhurst.
  2. To explore the Ushtogai site, and Kazakhstan in general, you might try Wild Tickets.
  3. Ushtogai can sometimes be written as Ushtogay when searching.

Pauli’s Cosmic Dream

above: Wolfgang Pauli, ca. 1924. Wikipedia CC BY 4.0

Renowned psychiatrist Carl Jung had an intellectual friend in Wolfgang Pauli, a leading theoretical scientist in the development of quantum mechanics who had offered (with others) a third perspective to the deterministic physics of Newton and relativistic physics of Einstein. For example, Pauli’s Exclusion Principle explained how sub atomic particles of the same type could be connected to each other (entangled) on the level of the very small.

Dream analysis with Carl Jung opened Pauli up to the inner worlds of alchemy, archetypes, and dreams. Pauli recounted his dreams to Jung who would analyze their symbolism. One dream is of special interest here since it concerned a cosmic clock with two discs with a common center: one vertical and the other horizontal. The vertical disc was blue with a silver lining upon which were 32 divisions and the hand of a clock pointing to a division. The horizontal disc was divided into four differently colored quadrants, surrounded by a golden ring.

above: A visualization of Pauli’s report of his dream of the Cosmic Clock. The black bird would traditionally be a member of the Corvus or Crow family. In the original one sees 32 rings punctuating the outer ring. below: Jane Roberts colored it, noting it resembled Ezekiel’s vision. 

Continue reading “Pauli’s Cosmic Dream”

Chartres 3: Design of West Façade

The design of the twin towers of Chartres point to an extraordinary understanding of its designers, quite unlike pre or modern understandings of the outer planets and their harmonic ratios. We have already seen a propensity for using the ordinary English foot to indicate days-as-feet within the structure. The Façade hosts what is perhaps the most famous “rose window”, though it was only in later centuries that it would be termed thus, as the cult of the Virgin Mary became more widespread. But this cathedral was strongly dedicated to the Virgin, when built.

The two towers are separated by the same distance as the rose window is above the footings, namely 100 feet, while the façade is 150 feet wide. This has led me to rationalize the façade as being six units across of 25 feet, while the façade appears to end (and the towers begin) 200 feet above the footings.

Interpretation of the western Facade as composed as towers 4 apart, width 6 apart and height 8 units, all of 25 feet. The Rose Window is held within two 3,4,5 triangles within a wall of 2 units square.

That is the façade was therefore designed as a three by four rectangle, the rose window centrally located within a square of side length 50 feet.

In simplest units of 50 feet, 8 by 6 becomes the proportion 4 by 3, with diagonals that are 10 units (that is, 250 feet) where the rose is at the crossings of those diagonals, held between two 3,4,5 triangles.

This first Pythagorean triangle holds all of the ratios of regular musical harmony, having 4/3 (fourth), 5/4 (major third), 6/5 (minor third) between its sides, which multiplied together equal 60 and summed equal 12.

NEXT: to come

Interpreting Chartres
  1. the cosmic coding of its towers in height
  2. the harmony in its towers
  3. design of the west façade

Yet to come: the design of the Rose Window.

Chartres 2: the harmony in its towers

In the previous post, the difference in height of the two towers was seen to have an exoteric and an esoteric meaning. Exoterically, the taller tower is sometimes called the sun tower, probably because the globe at its top (below its cross) is about 365 feet-as-days (hence representing the sun and its year). From this fact, the lower tower was considered lunar , since the lunar year is “not as long” and so less high. However, one must go to the top of the cross on the lower tower to achieve the height of 354.367 feet-as-days (hence representing the moon and its year).

This article presents a deeper meaning, that the difference in the full heights of the two towers represents the musical intervals of the synods of Saturn and Jupiter, relative to the lunar year: cunningly encoded within the full height of the solar tower as the Saturn synod of 378 feet-as-days, which is 16/15 of the lunar year. To have made the taller tower higher, to achieve the Jupiter synod, was impractical so that, instead, Jupiter was symbolized by the lunar year of 12 lunar months while Saturn was 12 “months” of 28 days, the 336-foot high globe of the moon tower, as shown below.

Continue reading “Chartres 2: the harmony in its towers”

Chartres 1: the cosmic coding of its towers in height

The lunar crescent atop the “moon” tower’s cross.

Chartres, in north-west France, is a very special version of the Gothic transcept cathedral design. Having burnt down more than once, due to wooden ceilings, its reconstruction over many building seasons and different masonic teams, as funds permitted, would have needed strong organizing ideas to inform the work (as per Master Masons of Chartres by John James).

Continue reading “Chartres 1: the cosmic coding of its towers in height”

Saturn’s “Measuring” of the Lunar Month

Video

How the Moon was seen to be like Saturn in expressing the Sacred Number 28.

illustrated SCRIPT

To measure the length of a lunar orbit, one needs to see any prominent stars that the moon is passing by in her orbit.

This sort of procedure is implied in Indian astronomy, and other traditions, where the sky was first divided into 28 or 27 equal parts, called lunar mansions (nakshatras).

The lunar mansion on a given day was identified by the name of the lunar mansion seen behind it.  In B.C. 2350, the system started with the spring equinox which stood on the seven sisters or Krittikas.

This was in the Zodiac constellation Taurus the Bull, but the mansion, one of 28, was called Ashwini – the Horse’s Head. In this way Indians still speak of “the moon in Ashwini”.

The division into 28 probably came from the observation of Saturn’s loops which resembled the twenty seven and a third days for a lunar orbit, though the first is a frequency of synods while the latter is a frequency of earth rotations, both relative to the ecliptic / Signs / Mansions.