THE MAORI MOKO AND THE SABBATICAL CALENDAR.

Figure 13: The area of the Moko from Angas's painting that indicates the megalithic British Sabbatical calendar system.

1.Central upon the forehead is a composite design made up of prominent Mediterranean / European elements... the Fleur de Lys and the Caduceus / Leminiscate. The Fleur de Lys, in its earliest form, was found in both Egypt and the Temple of Solomon, built by the Hebrews / Israelites. The Caduceus symbolised the "Brasen Serpent" of Moses and, throughout pre-Celtic/ Celtic art, dual snakes are represented prominently. These dual snake symbols are widely distributed throughout the Mediterranean from Egypt to Great Britain. The Caduceus is now the foremost of all "medical symbols".

2. The facial art is in homage to the Sun God RA and each section of the face depicts some aspect of Sun movement. If one counts the lighter lines, from above the eyebrows, including in the count the stem of the Fleur de Lys, it will add up to 14 markings overall. The right side of picture shows the face to have an extra such line on the forehead. This holds true of the dark lines as well, where the total (overall) is 13... so what could this signify in terms of Sun cycles? The number of whole days from Vernal equinox to Autumn equinox is 182 and this is also the sum total of 13 X 14. It's probable that the additional lines (or spaces between lines) found on one side of the face, allude to the warmer part of the year, where the span of comfortable weather extends (in New Zealand and based on the 12 month system) between October to the end of April. The other side of the face alludes to the wintry, less comfortable and stormy months...May to September.

3. The 13 dark segments would represent the year broken up into 13 months of 28 days (364 days) or, simply, equinox to equinox. This means a year of 52 weeks of 7 days duration each. The light streaks would represent either 13 or, ultimately, 26 bi-weekly periods of 14 days duration each. The use of 7, 14 or 28 was universally employed to break time up into weeks, bi-weeks and months. It's plausible to believe that the facial markings to the left side of the picture (forehead) represent the Winter Solstice, arching up to the Equinox from the eyebrow. The inference, on this side of the face, is days that are shorter and nights longer, hence the larger block of dark coloration adjacent to the Fleur de Lys. That's the period of the year dominated by night. The other side of the face depicts the period dominated by light and warmth, hence the smaller block of dark coloration. The eyes of the individual represents the Sun or the "All Seeing Eye" of RA Himself, sitting in the Winter Solstice and Summer Solstice positions.

4. The figure "8" (part of the Caduceus or Leminiscate), at the base of the stem of the "Fleur de Lys", could represent the undulating Ecliptic line (the line upon which the zodiacal constellations or planetary orbits are found), where some stars, not visible in Winter, will rise above the horizon in Summer...and vice-versa. This effect could be compared to the slithering motion of a snake or 2 snakes, crossing over each other in eternal forward undulating motion. The "summer" snake curls toward winter and the "winter" snake curls toward summer, showing as they proceed, their own unique array of background stars.

With the use of strokes equating to 13 (dark) and 14 (light) the primary elements are in place for remembering the numbers associated with the ancient Sabbatical cycle system...but there's another link to consider.

THE MAORI MOKO & TUTANKHAMUN'S DEATH MASK.

Both the Maori Moko and the death mask of Tutankhamun are clear representations of the movements of RA and the cyclic numbers, which lead to the creation of a workable and practical solar calendar system. There is an outwardly conspicuous association between the Moko of Maoridom and the funerary mask of the young Pharaoh. The vertical, full frontal, aspect of the mask of Tutankhamun could, reasonably be described as representing 7 separate sections, with each section either independently or in unison with other sections, carrying particular coded information. The sections, working clockwise from the bottom left, are as follows:

1. An inclined section angling slightly back toward the top. This section is made up of horizontal bars of both dark blue and gold stripes. The section finishes at a point where the mask assumes its widest dimension, adjacent to the mouth and then angles to the vertical. There are a total of 15 gold bands in this section and 14 dark blue ones. The section immediately opposite, on the other side of the mask (7), is identical.

2. The second, vertical section, where the bands of dark blue and gold stripes are wider and more pronounced. In this section there are 9 dark blue stripes and 8 gold ones.

3. In the third section the stripes are vertical, as this is the area above the forehead to the left side of the mask, terminating at the side of the elaborate, raised and embellished, centre gold stripe. In this section there are a total of 5 dark blue stripes and 5 gold ones.

4. The beautifully embellished centre band, representing dual snake bodies partially intertwined. The dual snakes are likewise depicted, entwined, on the staff of the Caduceus, in Angas's painting of the Maori Moko, at exactly this location of the central forehead. Note: There could be some interpretational confusion as to the meaning behind these "serpents" on Tutankhamun's mask. One of the funerary mask snakes has a Cobra head, whereas the other has the head of a Vulture. The bird-headed serpent is thought, by some researchers, to represent the "feathered serpent" (much displayed in South America), as the selfsame "feathered" aspect is seen on the serpent of Tutankhamun's mask.

5. The right section of the forehead, where there are 4 dark blue stripes and 4 gold ones. This section is at variance with its counterpart to the left and was very deliberately constructed with one dark blue and one gold, stripe less than its companion section. This duplicates, exactly, what happens on many known 19th century Maori Moko's, where this deliberate imbalance was incorporated into the tattoo design.

6. Reverting to horizontal stripes once again, this time to the right side of the mask. In this section there are 9 dark blue bands and 8 gold ones...equal to its directly opposite section.

7. The final section, equivalent to section 1, with 14 dark blue bands and 15 gold ones. The question arises...how do these separate sections, either individually or in unison with other sections, divulge the significant numbers of the Egyptian calendar system? Also, how do the numbers equate to those, more starkly depicted, on Maori Moko's of the 19th century?

The main region of Tutankhamun's mask that directly relates to this is the sweep from the mouth region, upward, across the forehead and down to an adjacent position opposite the beginning point (sections 2-5). To the right side of the headdress there are 13 dark blue bands. This would represent the 13 months of 28 days duration each, which constituted the raw year count of 364 days. There are a total of 13 dark forehead lines in the Maori Moko of Angas's painting.
On the left side of the headdress, rising to the forehead, there are 14 dark blue lines. This indicates bi-weekly periods of 14 days and, by comparison, there are exactly 14 light lines on the Maori Moko depicted in the painting. In order for the year to achieve its 364-day count, there must be 26 of these bi-weekly divisions. That's where the gold bands of the mask come into play, for there are exactly 26 of these, arcing from one side of the mouth to the other, inclusive of the central, ornate Equinox band.

To the right side of the mask, in this sweep, there are 12 gold stripes, not including the centre band. This would represent the 12 Houses of the Zodiac, through which the Sun was seen to rise during one solar cycle (Solar year). On the left side of the mask, in this sweep, there are 13 gold stripes, not including the centre band and this would allude, again, to the 13-month calendar year. It is also significant that the total number of gold bands, for all sections combined, equals 56 (2 X 28), which duplicates the "post count" on the Aubrey Circle at Stonehenge. A manual count of positions calculated weeks, months and years, through Sabbatical Years to the Jubilee Year, complete with corrective intercalary insertions. 56 positions and spaces between positions were used. There are also 55 dark blue bands and this number has significance, in a special way, to the Giza Plateau, inasmuch as it is a perfect pyramid number.

If one borrows 55 wooden blocks from the children's toy box and lays out 10 for the bottom course, 9 for the second course, 8 for the next, etc, then block number 55 will form the single block apex of a symmetrical pyramid. The finished pyramid will be 10 blocks long and 10 courses high. The number 55 has its root significance in 11. A circle diameter of 55 or 550 goes on to provide one of the most sought after perimeter calibrations of antiquity (1728). Miringa te Kakara's Crosshouse, in New Zealand, was contained within a circle of 55 feet. Alternatively, Silbury Hill's diameter was intended to convey 550 feet. The Great Pyramid's base perimeter was 1728 British Royal Cubits (21 inches each)....36288" ÷ 21" = 1728.

PRE-DYNASTIC EGYPT WAS A FORMER EUROPEAN HOMELAND.

The Egyptian region is known to have been idyllic from 10,000 BC till around 4000 BC. During that long expanse of time the rains lessened and there was a creeping tendency toward aridity. By 4000 BC the ice flows of Europe were gone and that region offered better prospects for long-term agriculture. Compelling evidence suggests that there were large population migrations out of Egypt from 4000 to 3000 BC. This might have been the time when the catch phrase, 'Go west young man', was first uttered. Pocket groups of the original descendants of the Great Pyramid builders, undoubtedly, stayed on in Egypt and its satellites and did not join the general exodus. Later the abandoned cities were reoccupied by yet other groups and a melange of cultural expression resulted.

Professor, C. S. Coon of Harvard University, wrote in 1939 concerning "skull types", 'A true and valid similarity, however, may be found between the English Long Barrow series and the early skulls from al'Ubaid in Sumeria, which, whether belonging to the fourth or the third millennium B.C., are in either case older than their British counterparts. The only difference which prevents identity is that the Mesopotamian faces and noses are somewhat longer' (p. 112).

Earlier in his book (p. 83) Professor Coon writes, It can be shown that Sumerians who lived over five thousand years ago in Mesopotamia are almost identical in skull and face form with living Englishmen and that pre-dynastic Egyptian skulls can be matched both in a seventeenth century London plague pit and in Neolithic cist graves in Switzerland' (see Races of Europe, by Professor C.S.Coon, Macmillan, N. Y., 1939). Evidence suggesting continuous migrations out of the Eastern Mediterranean Basin, over a span of centuries or millennia, is found in the clearly marked trails westward. A well-established migratory route, marked by standing stones, cairns, dolmens, mounds and stone circles, extends from Israel across the top of North Africa to the Spanish Peninsula. It further extends along the Atlantic Coast of France to Scandinavia in the north and the British Isles to the west. Other trails, marked in similar fashion, extend to China and Korea. (See, Palestine, by Major C. R.Conder, R. E., George Philip & Son, 1889, pp. 142 -157.See also, Across The Jordan, by Gottlieb Schumacher, Richard Bentley & Son, 1886).

We know that a strong Megalithic culture existed throughout the Eastern Mediterranean from very early times and some of our best indicators of its, "all-pervading significance" are found in the Bible. Many Biblical references indicate a legacy of veneration directed toward stone circles, cairn and other types of stone monuments. The use of cairn to mark trails and wayside points was considered to be a "social responsibility" for the benefit of the "wayfarer". Symbolic reference to this responsibility is given in an edict from Jeremiah which says, 'Set thee up waymarks, make thee high heaps: set thine heart toward the highway, even the way which thou wentest...'(Jeremiah 31: 21.).
This late era reference, by Jeremiah, to marking the trails, is based on a megalithic tradition that extends back to pre-Dynastic Egypt. In many respects, the remnant component structures of those trails point the way to a former home and the place from whence individual European nations came. From the standpoint of the civilisations that have, for millennia, occupied the Western European counties, vestiges of language (especially Gaelic), customary practices, stone circle and geometrically based astronomical / religious systems, schools of higher learning and the Druidic tradition, bagpipes, harps, flutes, pentatonic musical scales and plinth rhythms, obelisks and conical towers, measurement standards, cranial similarities and general ethnology, etc., point to a region of origin centred on Egypt and its satellite countries.

Figure 14: The ancient influences of Egypt can be seen in the "cicatrisation" tattoo of this West African warrior. There appears to have been a deliberate attempt to create an imbalance in the number of lines on each side of the forehead. It would appear that 13 lines was the design intention. The concept closely parallels the Maori Moko design type of Angas's painting and, by consequence, early era Sabbatical cycle symbolism.

FROM WHENCE CAME THE MORIORI STICK FIGURE DESIGNS.

Figure 15: To the left is a Moriori tree trunk carving that was found on the Chatham Islands off the East coast of New Zealand. To the right is a composite picture showing various of their stick figure designs. The gentle, part-Polynesian Moriori people had fled to the isolated and distant Island group several centuries ago, seeking refuge from the Maori cannibal warriors. Their physically demanding but peaceful sanctuary was discovered by Maori crewmen working aboard early 19th century whaling boats. They reported their find to mainland Maoris who then commandeered European ships to transport Maori warriors to the Chatham's. Thereafter, 35 years of enslavement and cannibal consumption of the Morioris reduced their numbers from 1700 to a mere 101 people, by the time of the British census of 1862.

Although, on the surface, the Moriori stick figures might appear to be simplistic and, by some points of view, indicative of undeveloped culture, nothing could be further from the truth. To explore the true pedigree of this metamorphasised geometric design, one must understand principles of ancient astronomical geometry.

There was a singular, universal, astronomical/ geometric method, which migrated with ancient Indo-Europeans to their far-flung colonies all over the world. The system itself had been developed, either in pre-Dynastic Egypt or during earlier eras, when European peoples lived to the East of Egypt. The universal astronomical system was for setting up fully functioning observatories at any latitude and determining such complex computations as the duration of the Precession of the Equinoxes or solar, lunar and stellar cycles. Indo-Europeans adhered to an obsessive-compulsive policy of keeping the age-old knowledge alive throughout the generations, inasmuch as the seeds of civilisation and national identity were contained within remembrance of the size of the Earth, navigation, how to compute the recurrence of cycles and how to measure time.

Let's now embark on a complex journey to find out what the Moriori stick figure truly represents. The first stage requires that we analyse the geometric principles contained within a so-called Maori meetinghouse.

 

CONTINUE