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representation of a disk with extended claws may in fact seek to preserve the memory of a vision, or
observation, of a flying craft capable of landing?
This speculation does not answer all our questions but it provides a stimulating avenue of research
into ancient symbolism. It is certainly fascinating to read the best accepted interpretation for the zig-
zag symbol in some of the amulets is lightning or a thunderbolt. Why should a thunderbolt be
associated with a winged disk, and why should three people in elaborate magical garments stand in
adoration before it? The scene suggests plan and purpose rather than a chance occurrence of some
purely natural phenomenon. It suggests overt contact with a flying craft.
Equally fascinating to the student of close-encounter cases are the scenes in which animals are
carried to the hovering disk. In one case, a god is seen holding a horned animal under each arm a
scene certainly reminiscent of many a claim of animal kidnapping by UFO occupants. Three of the
cylinder seals show approximately the same thing: a disk above some elaborate ground structure, a
human in adoration, and someone bringing a horned animal toward the center of the scene.
The beings themselves fall into the following categories:
1. Human beings that Assyriologists call worshippers, priests, kings, etc. Sometimes they are
wearing winged garments.
2. The gods. They are shown either emerging from the disk and wearing, in some cases,
elaborate headdresses or walking outside the disk, as in one amulet where an entity seems to
be wearing its hair in three long tresses on either side of the head.
3. The scorpion-men, who have large phallic attributes in one figure but in another case would
more properly be called scorpion-women. They are only seen supporting the disk. It would
be interesting to find out where the word scorpion comes from in connection with these
figures. The scorpion-men are consistently about two-thirds the size of men, who in turn are
smaller than the gods. (Professor Douglas Price-Williams of UCLA points out that in the
Gilgamesh epic the scorpion creatures were the guardians of the mountain of the sun. The
scorpion-man in the Babylonian Enuma Elish was a monster created by chaos at the
beginning of the world. Price-Williams adds: "These creatures would thus be tellurian
beings, 'chthonic' as Jung would have said.")
4. Various monsters, such as a horned creature or a sphinx.
Why should the observation of a flying disk be represented in the context of an obviously magical
ceremony that does not appear to have any traditional characteristic of Phoenician religion? We are
told, for instance, that the Phoenicians held the same view as the Hebrews concerning the survival
of the soul, that they buried their dead with great care, and that their sacrificial ceremonies involved
killing human beings and sacred prostitution. Why then is it that, if the seals are associated with
spiritual or religious values, they depict nothing of this, but do instead show winged disks that
appear to come from a star, contain strange beings who carry off earth animals, and emit lightning
bolts? And why are the human assistants wearing special vestments with wings on them?
Representation of flying disks in religion does not stop with the Phoenicians. The symbol is a basic
one in the early Christian church, and it is consistently associated with the angels. Christian
theology does not have much to say about the angels, just as official Muslim theology remains
discreet about the jinn. Some rare documents, however, give details concerning the nature of these
beings. According to Japanese researcher Y. Matsumura, the religious Sophia, a written document
commenting on the dogma of the Greek Orthodox Church preserved in the Leningrad National
Library, describes the process of communication between God and the angels:
How does the Lord guide His Angel, if the Angel cannot see the face of His Lord? An Angel
has a projection on the upper part of his eyes, where a sacred cloud rests. He has also a thing
to recieve sounds on his head. This thing makes noises as an Angel recieves an order where
to go from his Lord. Then he quickly looks at the mirror in his hand, and he gets in the
mirror something on which an instruction from God is given.
I have not been able to verify directly the existence of this document and the accuracy of the
translation, but it is consistent with a number of paintings, icons, and murals that depict contact
between "God" and His messengers and contact between the messengers and men. Communication
for a long time took place through pictorial representation rather than words, and it is not surprising
to find few descriptions of such contact in written language.
I am inclined to a literal, rather than purely symbolic, interpretation of the scenes depicted on the
Phoenician amulets, and I am also tempted to accept as a working hypothesis that in times remote
contact occurred between human consciousness and another consciousness, variously described as
demonic, angelic, or simply alien. This would explain much of the symbolic power retained in our
own time by the concept of "signs in the sky." It would account for the fact that modern-day UFOs
seem to present archaic as well as futuristic designs (as in the representation of the Arabic [ Pobierz całość w formacie PDF ]
