Golden God

Standard

His Blue color is a pictoial pun for His Name NL/ NR /NHR/L which means Blue, Water(s) and Youth/Kouros. Elsewhere I have written a lot on this.

5. His Gold Cloth is a pictorial pun on His Name HARI (Khrusos, Gaura, Aura etc.)

Greek and Latin roots in English – Wikipedia, the free encyclopedia
aur-, relating to gold, or gold-colored, Latin, aurum “gold”, aureole …. chryso-, gold, Greek, χρυσός khrusos “gold”

ROMANIAN RELIGION: ZALMOXIS, THE ANCIENT GOD
In support of the first meaning, we may adduce the Greek words zale, … ”gold”, hari, ”yellow”, gaura, ”white”, „yellow”, ”shining”, ”gold”, Gauri, …
credrom.org/0/en.zalmoxis.htm – 

“Accordingly, Zal means either ”power”, or ”light” – two interrelated concepts, light being a natural and divine force. In support of the first meaning, we may adduce the Greek words zale, ”storm”, za(l)menes, ”very strong”, ”powerful”, ”furious”, Persian zal (zar), ”powerful”, Sanskrit śura, ”powerful”, ”valiant”, ”hero”. In support of the second meaning, we adduce the following: Latvian zelts, ”gold”, Lithuanian želtas, ”golden”, Slavonic zlato (Russ. zoloto), Persian zaranya, Sanskrit hiranyam, ”gold”, hari, ”yellow”, gaura, ”white”, „yellow”, ”shining”, ”gold”, Gauri, ”The Shining/Golden One”, name of Hindu goddess, IE *ghel- (*ghol-), ”to shine”. See also Greek Selene (< *selas + nā, ”mistress of radiance”, the Moon), where sel = zel, zal. We note that Zalmoxis’ alternative appellation, Gebeleizis (Zebeleizis), has the same meaning (Thr. zbel, *z(i)bel, Lith. žaibas, ”lightning”, žybeioti, ”to gleam”, ”to flash”, Lett. zibens, zibet, IE *g’heib, ”light”, ”lightning”). Thus, we may assert that Zalmoxis represents the All-Powerful, Shining Sky, the original Supreme Deity of the Indo-European peoples.”

Chaitanya Mahaprabhu –
In the Name of the Lord “He was also given the name of ‘Gaura’ (meaning golden) because of his extremely fair complexion.

The Deer or antelope is also a pictograph or symbol of His HR ‘Golden’ Name.

7. The Peacock Eyed Feather is an important Symbol of Helios/Eliyahu. The Bible says that Peacocks (sacred to Krishna-Vishnu), and Apes (sacred to Rama) were imported by the Biblical King Solomon from India!

If there are three peacock feather Eyes, they represent that He is Tri-Lok-Atma the Soul of the Three Worlds or Tri-Aksha, Whose Three Eyes simultaneously see the Three Worlds of Past, Present and Futiure, Heaven, the Intermediate Planetary Systems and Hells. Helios with Three Eyes is called Tri-oculos, or Zeus-Jupiter-Amun Tri-opes.

Amun, the creator god, was depicted in human form, seated on a throne, wearing on his head a circlet from which rise two straight parallel plumes.The color blue is often used for Amun's image.

In Heliopolitan Greek Sacred Art the Turban was a headgear that Identified an ‘Oriental’ Deity, Especially Dionysos. Dionysos is the Second Person and ‘Older Brother’ of Helios (Apollo / ‘PL / ‘PBR). In Egypt He was AUSU in the Trinity of HERU-AUSU-ATUM (ATEN). The Greeks called Him Osiris, and to the Semites HE was YAHU-BAL. He was and still is BALADEVA to the Radha-Krishna centric Vaishnavas of the East.

SFAGN.info: Collection / Seleukos I
The turban is probably an attempt to express the oriental aspect of Dionysos and it is consistent with the inventiveness of Seleukos’ iconography generally. …
www.sfagn.info › Collection –

“Catharine Lorber and Panagiotis Iossif are preparing a study devoted to this noteworthy type.8 According to their conclusions based on a thorough and deep analysis, the coin portrays Dionysos as the conqueror of India, the patron of the Seleukid elephant corps, and the guiding power behind the victory at Ipsus. The turban is probably an attempt to express the oriental aspect of Dionysos and it is consistent with the inventiveness of Seleukos’ iconography generally. The elephant goad links the figure to India, which for the Greeks was above all the land of elephants. It also connects the obverse scene with the heroized or divine elephant on the reverse (the horns indicate that it is not an ordinary animal). The type of Dionysos and the elephant support the reattribution to Apamea, home of the Seleukid elephant corps and a center of the worship of Dionysos. This rare special issue was probably intended for the soldiers of the elephant corps and it could be much earlier than the late 280s BC.”

Lord Baladeva as Deva-Nyasa

Dio-Nysos is Lord Baladeva as Deva-Nyasa the God/Deva (Dios, Deos, Theos) of Sacred body anointing, marking, consecration or NYASA initiation! A Sam-Nyasin ‘sannyasi’ is an anointed one, or one with (SAM, SAN, SYN) Nyasa Consecration or Markings. All over India today Vaishnavas, Shaivites and Shakti worshipers practice their particular forms of daily nyasa consecration! Often this is done with clay, ash, or another sacred substance, and the devotee says the appropriate bija seed Name Mantra invoking the Lord and/or Shakti as they draw the symbol for that Nama-Rupa of God Ess upon their body.

Yahu-Bal as Dio-Nysos is Christos, the Anointed and anointing One.

This is Google’s cache of http://www.shivashakti.com/nyasa.htm.

Nyasa — divinity in the body
Mental worship is superior, and external worship is inferior. By worshipping Devata, a sadhaka is himself honoured – Niruttara Tantra
The word Nyasa means placing and refers to a large component of tantrik ritualism in which the practitioner touches various parts of the body at the same time pronouncing a mantra and visualising a devata or a bija (root) mantra. Nyasa is supposed to “divinise” the body of the worshipper.

There are many types of nyasa, with some being very complex and elaborate. One example on this site is Mahashodha nyasa where a sadhaka or sadhvika places planets, constellations, sacred sites and other elements of Lalita’s cosmology on her or his body. This demonstrates the identity of macrocosm and microcosm in the tantrik tradition.

The types of nyasa most often encountered in tantrika ritual are Rishi Nyasa, Kara (hand) Nyasa, Matrika Nyasa and Sadanga Nyasa. Every mantra has a Rishi or seer who first pronounced the mantra, thus giving birth to a line. According to many tantrik texts, using mantras which you take from books is fruitless, although this rule does not hold for Mahachinachara and, say some, the worship of Shri Shri Kali.

Matrika Nyasa is a form where the 50 letters of the Sanskrit alphabet are placed on the body. As this is done, the practitioner uses various hand gestures (mudras). The letters are prefixed with Om and suffixed with namah.

Sadanga Nyasa uses bijas connected with long vowels of the Sanskrit alphabet. Again, there are many examples here on this site.

The worship of different devatas introduces forms of Nyasa tailored to the particular divinity. For example, in the ritual worship of Bala, there are optional forms such as the Nine Yoni Nyasa, relating to the nine triangles in her yantra and an Arrow Nyasa, related to the five flowering arrows she holds in one of her hands.

And in the worship of Jvalamukhi, there is a very extended Nyasa which relates to the 21,600 breaths a human being takes in a day and a night. This is related to the position of the chakras within the human frame.

The worship of Kali is very ancient and there are hundreds of forms of related Nyasas. In an appendix to the Guhyakali section of the Mahakalasamhita, we find a multitude including Kalikulakrama Nyasa, Yogini Nyasa, Yajnamaharaja Nyasa, &c. &c.

Sri Krishna and Balarama with a Turban

When Sri Krishna and Lord Baladeva appear with Each Other’s attributes, this is usually interpreted as revealing that they are Two Persons of the Same Godhead. So, all of the Blue infinite Forms of Vishnu (or Lokeshvara), Who are all FORMS OF BALADEVA, are Blue, revealing Them to be non-different from Their Origin in Blue Krishna. When Baladeva is depicted as Blue this especially identifies Him as the Second Self of Krishna. In the same way, Krishna colored with the Golden Hue of HARE / KORE Radharani, is the golden bodied Gaura-Hari. At the Great Delphic Sanctuary of Helios as Apollo, Dionysos was worshiped as the alter-Form of Apollo. They both had ‘cult images’ in the Temple there, and were worshiped together, as They had been since pre-history in the Rhodian related cultus of HERU-ASU / Eli-Yahu.

A Turban is a common headgear for Baladeva throughout the range of His worship.

9. Sri Krishna is Anointed Himself! What can it possibly mean that the Original Supreme Personality of Godhead is wearing a Nyasa Mark Himself!? It has the same meaning as when the Lord washed His poor Devotee Sudama’s feet! Krishna is God-Who-Is-Love, Who is the Servant of His own Servants! He wears the mark of consecration and devotion not to some other Higher God than Hemself, but to all of His beloved!

Elsewhere I have described Vaishnava and Heliopolitan related consecration markings and the forced slave markings of the false ‘gods’ that opposed the One True God.

10. Sri Krishna is playing His Flute. Helios Kouros as the Choreagos/Choreographer Leader of the Kouros Dance (Circle Rasa Dance) plays His sacred instrument the Flute. His Carol Dance is named for Him as Kouru-AULOS ‘Flute’. Sho Kannon plays the Flute!

11. Sri Krishna wears a Garland of Flowers. The Kore Expansions of Rhoda are also the Flora Nymphs of Helios Kouros. Rhoda Nymphia is the Origin and Queen of all of the Flora Flower Nymphs and Water Nyads of Rhodes. Rhoda is the Origin of the Kore Milkmaids, the Muses, Charities and Goddesses of the Heliopolitan Traditions. The later Classical Art Theme of Apollo and the Muses dancing Their Sacred Carol Chorus Circle Cycle Chakra Dance derives from the Earlier Tradition of Helios Kouros and His Sacred Circle Dance.

The Lord is depicted in unity with His Shakti in Afro-Heleno-Semitic, Vaishnava and Pure Land Buddhist Sacred Art. This is most commonly done by seating or standing His Form in or on a Lotus or Rhodon. He or His Shakti may also hold a Red or Pink Rose, Lotus, Rhoda-dendron Blossom or other Red or Pink flower.

Coins and emblems, amulets etc. and ancient maps depicting Helios of Rhodes as the Colossus of Rhodes would have showed Him standing on a Rhodon or Lotus (Nymphia), one of the 2 most important By-Names of Rhoda-Kore. Later Pure Land related Buddhist Murtis (‘cult images’) etc. would depict Lokeshvara or Chen Rei Zei standing or seated on His Lotus Shakti Padme. Buddhist HRIH on a Lotus = HELIOS KOUROS COLOSSUS ON HIS LOTUS/NYMPHIA iSLE OF RHODES.

Rhoda-Kore was also called Asteria (STAR ASTRAYA TARA) and Nymphia (Lotus, Maiden Kore). His Bukolic (Gokula) Island Paradise of Rhodes was considered a Form of His Beloved Rhoda-Nymphia-Asteria! SHE is His Hladini Shekinah / Shakti, Roman Fortuna, Greek Tyche!

Tantric Art depicts the Form of the Lord HRIH in sexual union with His Shakti.

On Rhodian and Rhodian Naval Federation Coins, Helios Kouros is on one side and a Rhodon or lotus is on the other. The righteous Jewish King Joshiah adopted the Sacred Rhodon ROSE or LOTUS of Rhodes as the official Emblem of his Reign!!!

Each of the Nymph expansions of Rhoda-Nymphia (Roman Flora May) had an emblematic flower. Helios Apollo / Gopala dances with His circle of Milkmaidens, Muses or Nymphs around Him. When these are Flora-Maia’s Flower-Nymphs, they are a ‘Garland’ of flowers around the Lord of the Nymphs, Helios Kouros of Rhodes.

Whenever I see the Lord Garlanded with Flowers, it reminds me that He is the Lord of the Paradise of Eternal Springtime, and as the Lord of Radha-Padme (Rhoda-Nymphia) He is always accompanied and surrounded by Rhoda and Her Shaktis! In fact, He never leaves His deathless supreme Abode of Truth and Beauty. So when we see the ever fresh Flower Garland on the ever New Beauty of Sri Sri Radha and Krishna, it should remind us of this…as each BEAD in our Japa Mala (Rosary) has a special meaning, the 108 BEADs may be meditated upon as the 108 Principle Gopis of the Lord. So when we meditate upon Sri Sri Radha-Krishna’s Pushpa-Malas, each flower of Their Garlands should remind us of the Shaktis of Rhoda-Nymphia / Radha-Padme, and the ever-fresh Pure Land of Sri Sri Radha-Krishna’s Transcendental ‘Western Paradise’. The fragrance of these Transcendental Flowers of Paradise should draw us, like the sound of Sri Krishna’s Flute, back to Home, back to Sri Sri Radha-Krishna’s Garden of Paradise, back to Godhead!

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About Collected Works of Sri Bhakti Ananda Goswami

This site is a repository of the written work of Bhakti Ananda Goswami managed by one of his students, Vrndavan Brannon Parker. Bhakti Ananda Goswami is a practicing Catholic Hermit under private vows, and a Vedic Monk in the Brahma-Madhva-Gaudiya-Vaishnava Lineage Tridanda Sannyasi and Siksha (Instructing) Master. His research provides the evidence proving that at the ultimate source there is only One Religion and Divinity yet there are multiple expressions of that religion and Divinity. Read the various collected articles on this site revealing that ancient Humanity was highly evolved and motivated by transcendent and life affirming impulses leading to High Civilization. (Please Note that this site is not maintained and updated by Bhakti Ananda Goswami himself but is managed by one of his students. Though he does scan the site he is not always able to respond to messages or comments.)

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