Her charioteer has a royal blue cloth and radiant crown. She has a red dress and as she squirts her milk to the ‘orphaned’ infant HERAKLES, some of it misses His mouth and become the ‘Milky Way’ / GALAXIOS / Galaxy of the Original GOLOKA VRINDAVANA.
These late paintings preserve some important elements of the HERA-HERAKLES tradition.
There is much more to be written about KRISHNA-BALADEVA and the Original HERAKLES.
Who was the original KOUROS, duo-king BASILEOS and ‘Solar’ HELIOS deity related ‘HERAKLES’?
First note that the great classicist, Jane Harrison, identified 3 forms of the same deity as 1. MEGHISTOS KOUROS, 2. HERAKLES the BASILEOS (Sacred Hero-King), and the 3. ‘Solar’ HELIOS.
These are KRISHNA-VISHNU as the
- The KOUROS / KISHORA Original Cowherd Boy (GOPALA / APOLLO)
- The Sacred King-Heroes, BASILEOS / VASUDEVA Incarnations of KOUROS
- The ‘Solar’ SURYA (HELIOS) NARAYANA.
Expanding on her observations, I investigated and identified the specific cultus origins of
- The Original Meghistos ‘Greatest’ KOUROS of the Isle of Rhodes as KRISHNA, the
- Original HERAKLES of the ancestral Duo-Kings / Sacred BASILEOS of Sparta, Jerusalem, Haran and Heliopolis Egypt, the twins HERAKLES and IPHIKLES, from ‘ten thousand years before the Trojan War’ (according to Herodotus) as the WAS-DIOS / VASUDEVA / BASILEOS (BAZODEOS) of Thebes and Heliopolis, Egypt, and the East, and the
- HELIOS / ‘HERU-AUSU / HELI-OS the ELDER’ of Rhodes-related Heliopolis Egypt, as SURYA-NARAYANA.
Like Herodotus, I too wanted to know which of the 40+ heroes named HERAKLES was the ‘Original’, so I continued the search of Herodotus all of the way into India and Vaishnavism, and into the Far East in Buddhism.
In India during the Greco-Indian era (after the conquest of Alexander the Great), the Divine HERAKLES was undisputedly identified with KRISHNA-BALADEVA, especially in His Sacred King-Hero form as BAZODEO / VASUDEVA. Even today Greco-Indian coins can be found bearing Greek BAZADEO (BASILEO) on one side and VASUDEVA on the other. See the ‘Stater of VASUDEVA’.
Many other sources show that the Greeks and ‘Hindus’ of that era identified ‘HERAKLES’ with KRISHNA-BALADEVA. Greek KLESO-Boro was KRISHNA-Pura. HERA-KLES of KLESO-Bura was HERU / HARI as KRISHNA / ‘KLESO’.
Herodotus said that by his time there were more than 40 heroes named HERAKLES, and his extensive travels were primarily to discover the ‘home’ of the Original HERAKLES. These travels took him to many lands. Finally he concluded that the original HERACLES lived 10,000 years before the Trojan War and the He was One of the legendary Duo-Kings of ‘Sparta’.
Other persistent legends about the original HERAKLES reported that He and His Twin Brother IPHIKLES were the ancestral Duo-Kings of Sparta. Such ancient Duo-King brothers were classically the first two oldest royal sons, with the oldest son being devoted to the city-state’s POLIEUS ‘Patron God’ (or TYCHE ‘GOD ESSES’) as a Priest-King, and the next youngest son being dedicated to ruling the state and direct military service as the Kshatriya or war-leader king.
Please note that in this regard, during the ‘Great Earth’ Mahabharata War, Lord BALADEVA, as the Original Spiritual Master (and ‘Hierophant’ of RADHA-KRISHNA) a religious sage, went on pilgrimage, while His ‘younger brother’ (in Lila), KRISHNA, advised Arjuna and drove his chariot in the Battle of Kurukshetra.
Of course the original Duo-King HERAKLES was not the Heracles or Hercules of the famous ‘Labors’, who killed his family while under a maddening curse of ‘HERA’. Nor was / is he the same as all of the other ‘mythological’ heroes by that name (or Hercules) throughout the ancient world. However, we can find some vestiges or fragments of His Eastern Revelation as KRISHNA or BALARAMA scattered around in the Mediterranean region’s ‘mythology’.
Among the Labors of Hercules we see that he diverted a river, as BALADEVA diverted the Yamuna. Depictions of Him wearing a Lion’s Head actually reveal Him to be Lord NARA-HARI KALAH / Leontocephaline Time. His Club / Gada is a weapon of BALADEVA’s. Bactrian Era Greco-Indian coins, artwork and other evidences equate HERAKLES with KRISHNA-BALADEVA in many different ways.
See the Biblical story of KRISHNA-BALADEVA and KALKI Avatara appearing in Their Great Temple in Jerusalem! Later the central character in this amazing pastime, the Greek Ambassador, Heliodorus, erected a votive column to KRISHNA-VISHNU in India!!!
This myth is contradictory to the very ancient RHODES-ASTERIA Egyptian tradition that the ‘Milky Way’ or Greek Galaxia / Galaxy is the Milky Cow-Path on the way back across the Universe to the Supreme Goloka Bukolik / Gokula Cow-Paradise / Paradesha, beyond the dark sky, in the eternal self-effulgent ‘spiritual sky’ of Go-Loka Vrndavan.
Upon observing the larger resolution version of this painting, I can clearly see that the male figure has the radiant crown (which should only belong to HERU-AUSU / HELIOS or forms of KRISHNA-VISHNU), and that He has beside Him the vajra / lightning bolt of Zeus-Jupiter Fulgar. Of course, Fulgar as the ‘King of (the celestial) Heaven’, is actually Indra, the rain and lightning-bolt throwing ‘weather god’ among the polytheistic ‘vedic’ devas.
Studying this painting with my dear daughter here to help me with my retinal blindness, I asked her to look at it for me, and YUP! She reports that Zeus Fulgar’s vahana ‘eagle’ is there, holding his vajra thunderbolts! WOW! Who knew?! I thought it was just a dark cloud!
The name of the ‘Milky Way’ comes from the primal Afro-Heleno-Semitic tradition KRISHNA-BALADEVA-PARAMATMA worship that was centered in prehistory on the Sacred Rose (Red)-Lotus-Star Island of RHODA-NYMPHIA-ASTERIA / RADHA-PADMA-TARA. This religion was the oldest and most important throughout the entire history of the region. In Africa (including Egypt) this was the religion of HERU-AUSU-ATUM. To the Greeks of Rhodes this Godhead was HELI-OS-ATOMOS. This was the religion of the Bible too. In Hebrew this same trinity was ELI-YAHU-ADON. In the East, this was HARI-VASY-ATMAN (PARAM-ATMAN).
The Ancient Greek word Galaxia meaning ‘Milky Way’, GA-LAX-IA / Galaxy is a linguistic cognate and pun of GO-LOKA. The Greek BOUKOLA (See Greek BOUKOLION, BOUSAALA and English BUCLOIC) is cognate with the Sanskrit GOKILA. BOUSAALA is GO-SHALLA. BOU as in ‘Bovine’ and Sanskrit ‘Go’ and Greek ‘Ga’ as ‘cow’ are all linguistically related or ‘cognate’, having the same meaning.
The Heliopolitan HARI-VASU-ATMAN worshiping Greeks believed that the white-sprinkled path across the night sky was the cow path of the Lord’s Sacred Heavenly Gods as they made their way across the dark universe back to home, Back to Godhead! They believed that our original home a Bucolic Cow Paradise exists “Beyond Beyond the Great Beyond’ in HERU-AUSU-ATUM’s Supreme Abode!!!
Ancient Egyptian icons depicted mummified deceased devotees riding back to Godhead beyond the dark entropic ‘material sky’ on the backs of the Sacred Cows of HELI-OS-ATOMOS / HARI-VASU-ATMAN.
At the end of the day, when the Sun is going to set, and the cow herders are bring them home, their utters are full of milk and they are very eagerly running back home to feed their calves.
At such times their milk bags are dripping milk and they leave a distinctive trail of milk on their way back home. Thus the Afro-Heleno-Semitic devotees called that spectacular cow path across the dark heavens to the unseen self-effulgent deathless spiritual sky, the GA-LAX-IA / Galaxy ‘Milky Way’.
DEW inquires: I read that the Jupiter on Capitoline Hill had his face painted red with cinnabar. Any comment?
At various times, the Supreme Lord was represented in the ‘high theater’ of holy day processions by His anointed Sacred King or Emperor. At such times, only He was allowed to ‘impersonate’ the Supreme Lord, by dying his skin, marking his body with the symbols of KRISHNA-VISHNU, wearing a gold, silver or ‘royal blue’ cloth and gold or silver armor, wearing a rayed-crown or corona or a crown of many crowns, carrying a chakra / discus or vajra / lightning bolt, or the crop of HELIOS QUADIRGOS (KRISHNA PARTHA SARATHI) or any other scepter of the Lord of Lords, or riding a white horse. The Sacred King also shaved his face and wore a wig of long hair to appear as the eternally young MEGHISTOS KOUROS!
Thus the otherwise forbidden skin dying, auspicious marking and make-up, costume, tonsure (hairstyle of youth) and paraphernalia of the ‘King of Kings’ (RAJA-RAJA or VASUDEVA of the VASUDEVAS / BASILEOS BASILEOS) was not allowed for any other person or under any other circumstances. See the story of the imposter ‘Vasudeva’ Paundraka!
DEW comments: Yes, you wrote on that and it is very interesting. I knew of the common blue, black, green skin-tones but not the vermillion red color for whole face, just on hands and tilak.
Note that in Egypt and in Mahayana and Pure Land Buddhist iconography there are night-universe-black, snow-white, sky-and-water-blue, green and red forms of the Supreme Lord, HERU-AUSU. The red forms are a pictorial pun for RHODOS, the masculine lover of RHODA of Rhodes. This is why the ADI PURUSHA, BHAGAVAN HARI etc. of the Western Paradise Lotus Family of Pure Land Buddhism, AMITA-BHA, is usually depicted as red-bodied. He is RHODOS. His ‘Western’ Red-Lotus Paradise is the Red-Lotus-Star ‘Island’ / Dvipa Loka of RHODA-NYMPHIA-ASTERIA / RADHA-PADMA-TARA.
All red or pink flowers are sacred to RHODA as MA KUAN-YIN and TARA. No red or pink flower should be crushed under foot or desecrated in Pure Land Buddhism!
In the same way the pedestal or throne / asana of AMITABHA and all of His AMITAYUS and LOKESVARA ‘Expansions’ or Incarnations are usually depicted as a Red / Pink Lotus. This is RHODA as His Hladini Shakti-Abode. He is always in or on His Red or Pink Lotus NYMPHIA / PADMA.
CHEN REI ZEI’s / LOKESHVARA’s ‘Jewel in the Lotus’ mantra, ‘OM MANI PADME HUM’ is from His Brahma Samhita Self-Revelation tradition. It invokes Him as the Mani ‘Jewel’ in the Lotus Padma of His ‘Western’ Goloka-Lotus-Star-Dvipa Paradise ‘Pure Land’.
The Nepali-Tibetan Emanation Eye of the Rupa Kaya Omnipresent ‘Body’ of BUDDHA LOKESHVARA. I photographed these at both the famous SWAYAMBHUNATHA and BODHINATHA Stupas in the ancient Kathmandu city area of Nepal in 1982. It should be noted that such ancient Buddhist stupas from Sri Lanka to Nepal and Tibet often have VISHNU iconography as part of their complex. These include VISHNU murtis of Jaya and Vijaya as the protectors at the entrances to the Holy Ground and an attached Devali Shrine that actuall depicts the Heavenly VISHNU incarnating as the SIMHASANA BUDDHA, or ‘White Elephant’ Son of Queen Maya.
Of course the fanatically anti-Hindu sectarian Buddhist ‘clergy’ deny that VISHNU is VISHNU and instead insist that He is ‘LOKESHVARA’ despite the fact that all of the expert Tibetan and Nepali Murti makers and Thangka painters that I interviewed in Kathmandu said that they depict the exact same forms as both VISHNU and LOKESHVARA, only changing a few details of their symbols for differentiation!
When I inquired about the popular ‘post card’ sets of the 108 forms of LOKESHVARA / CHEN REI ZEI, again I was told that these forms of BUDDHA LOKESHVARA were also known to be forms of KRISHNA-VISHNU, but that the sectarian Buddhist ‘clerics’ would never accept such a ‘Hindu’ interpretation.
i tried to see and sketch or purchase as many of these that I could, but for a few of my sketches that I successfully mailed back to the USA, I lost them all. However references to these 108 forms of LOKESHVARA / CHEN REI ZEI and some of them can now be seen on ‘Google Images’. See CHINTAMANI LOKESHVARA as a Tribanga form of KRISHNA in Chintamani Dhama with His Kalpavriksha Tree!
DEW says: Mahayana seems to have sided with VISHNU as Supreme rather than SHIVA as all the VISHNU forms are BUDDHAS or BODHISATTVAS whereas the SHIVA and KALI forms are Dharma-Palas, conquered deities who now protect Buddhism. But the fierce VISHNU forms look much more like SHIVA and KALI despite officially being linked to VISHNU names. All the tantric elements in Vajrayana seem to come from Shaivism and Shaktism, but the BUDDHAs are obviously VISHNU centric.
Dear DEW, in all of my interviews with Mahayana Buddhist experts, both religious and non-religious scholars, from Japan, China and Nepal-Tibet, 100% said that all of the wrathful or Dharma-protector ‘deities’ like Mahadeva (Shiva) and His form as KALA BAIRAB were ‘transformations’ of AVALOKITESHVARA.
i challenged this doctrine by citing the ‘saved demons’ Lila stories about the Dharma protectors, but all of the experts asserted that these were really “wrathful transformations’ of AVALOKITESHVARA. To prove their assertion, they cited the Lotus Sutra, and their other Mahayana Buddhist texts, which clearly stated that AVALOKITESHVARA (LOKESHVARA) the SAMBOGHYA KAYA, ‘shows’ Himself in wrathful forms, like Mahadeva, for the salvation of some beings.
DEW comments: Do not doubt your experiences. Its hard to say anything general about Buddhism due to its diversity. I am used to the Tibetan narrative that PADMASAMBHAVA conquered all the Hindu and Bon Deities and made them Dharma protectors, and other SHIVA related Deities like SKANDA are listed as DHARMAPALAS. There is always some wrathful form of AVALOKITESHVARA who is a specific name and form of a general ‘category’ Deity. It gets confusing unless you look at a specific sect because you have the 5 Dhyana BUDDHAS and each has Their emanations. I think VAJRAPANI / ACALA / MAHASTHAMAPRAPTA is the main power house of Buddhism and He is linked to HERAKLES. But the fiercest form of LOKESHVARA is HAYAGRIVA in my opinion. They usually make MAHAKALA a ‘class’ rather than 1 person. Lots of ‘classes’ and LOKESHVARA shows up in every one. Usually GANAPATI is a wealth Deity more than anything and is also a class and the AVALOKITA GANAPATI is red. I like simplifying everything to an ADI-BUDDHA / AMITABHA / LOKESHVARA emanation though. https://www.lionsroar.com/gods-demons-sages-and…/ || https://en.wikipedia.org/wiki/Vajrapani#In_Gandhara || https://en.wikipedia.org/wiki/Skanda_(Buddhism) || https://buddhaweekly.com/whats-special-hayagriva…/ || https://www.himalayanart.org/search/set.cfm?setID=207
As I have studied numerous Buddhist traditions across the vast geographic and deep time-range of PTAH-ism / Buddhism, I have been able to make some summary conclusions that transcend the countless adversarial sectarian time-and-place localized lineages.
With regard to the Vaishnava connections, for simplicity I have had to focus on the lineages most closely connected to the ‘Western Paradise’ Lotus Family of the Trikaya of 1. DHARMA KAYA, ADI PURUSHA BHAGAVAN AMITA-BHA, 2. AMITA-YUS (SAMBHOGHYA KAYA AVALOKITESHVARA) and 3. HRIH in the Heart (RUPA KAYA). This Trikaya is the triple ka of HERU-AUSU-ATUM of Memphis in Egypt.
During the era after Alexander’s conquest, when there was a major Greek presence in the three KRISHNA-Vaishnava centers of Taxila (Gandhara), Alexandria Indus and Vrndavan-Mathura, (see my annotated maps), there was a complete melding of the Memphite Greek ‘Buddhist’ (PTAH) tradition and the anciently related KRISHNA-BALADEVA-PARAMATMA centered Vaishnava traditions of Gandhara, Alexandria Indus and Mathura.
Today’s Vaishnavas, ‘Hindus’ and ‘Buddhists’ do not like to acknowledge it, but for a while there were Greeks actually ruling in Gandhara and Vrindavan-Mathura. Many of these Greeks were actually indigenous Mediterranean Vaishnavas, who did much to revive, promote and spread KRISHNA-centric Vaishnavism everywhere. Tragically due to hatred of the ‘Yavanas’ (Ionians) there is a wide-spread ignorance and prejudice against all Greeks that is blinding Vaishnavas and ‘Hindus’ today to the actual truth of history.
YES THE ATEN DISK IS RED AS IS THE TIBETAN AMITABHA. I JUST LEARNED ABOUT JUPITER BEING RED. The first documented use of vermilion pigment, made with ground cinnabar, dates to 8000–7000 BC, and was found at the neolithic village of Catalhoyuk, in modern-day Turkey. Cinnabar was mined in Spain beginning in about 5300 BC. In China, the first documented use of cinnabar as a pigment was by the Yangshao culture (5000–4000 BC), where it was used to paint ceramics, to cover the walls and floors of rooms, and for ritual ceremonies.Our Dear Friend; DEW
The principal source of cinnabar for the ancient Romans was the Almaden mine in northwest Spain, which was worked by prisoners. Since the ore of mercury was highly toxic, a term in the mines was a virtual death sentence. Pliny the Elder described the mines this way:
Nothing is more carefully guarded. It is forbidden to break up or refine the cinnabar on the spot. They send it to Rome in its natural condition, under seal, to the extent of some ten thousand pounds a year. The sales price is fixed by law to keep it from becoming impossibly expensive, and the price fixed is seventy sesterces a pound.
In Rome, the precious pigment was used to paint frescoes, decorate statues, and even as a cosmetic. In Roman triumphs, the victors had their faces covered with vermilion powder, and the face of Jupiter on the Capitoline Hill was also colored vermilion.
In the Byzantine Empire, the use of cinnabar and the vermilion color was reserved for the use of the imperial family and administrators; official letters and imperial decrees were written in vermilion ink, made with cinnabar. https://placeandsee.com/wiki/vermilion-vermilion-grove
Blackberries, grapes and other fruits were used to safely dye and mark the skin ink of the Sacred Kings. Henna was also used to make the ‘Auspicious’ marks on the hands and feet of the Anointed King and Queen. I cannot imagine how dangerous it would be to cover one’s face with vermillion made from cinnabar.
History: “Crimson (NR4) is produced using the dried bodies of a scale insect, Kermes, which were gathered commercially in Mediterranean countries, where they live on the kermes oak, and sold throughout Europe. Kermes dyes have been found in burial wrappings in Anglo-Scandinavian York. They fell out of use with the introduction of cochineal, …”
Note: “…BODY PAINT…” “Produced from harvested, dried, and crushed cochineal insects, carmine could be (and still is) used in fabric dye, food dye, body paint, or almost any kind of paint or cosmetic.”
DEW adds: This sutra has all the deities coming out from Avalokita
Compare these essential Mahayana Pure Land Buddhist verses with SRI KRISHNA’s Self Revelation in His Bhagavad-Gita!
Saddharmapundarika Chap. 24 CHAPTER XXIV.
CHAPTER CALLED THAT OF THE ALL-SIDED ONE, CONTAINING A DESCRIPTION OF THE TRANSFORMATIONS OF AVALOKITESVARA.
Again the Bodhisattva Mahâsattva Akshayamati said to the Lord: How, O Lord, is it that the Bodhisattva Mahâsattva Avalokitesvara frequents this Saha-world? And how does he preach the law? Andwhich is the range of the skilfulness of the Bodhisattva Mahâsattva Avalokitesvara? So asked, the Lord replied to the Bodhisattva Mahâsattva Akshayamati: In some worlds, young man of good family, the Bodhisattva Mahâsattva Avalokitesvara preaches the law to creatures in the shape of a Buddha; in others he does so in the shape of a Bodhisattva. To some beings he shows the law in the shape of a Pratyekabuddha; to others he does so in the shape of a disciple; to others again under that of Brahma, Indra, or a Gandharva. To those who are to be converted by a goblin, he preaches the law assuming the shape of a goblin; to those who are to be converted by Isvara, he preaches the law in the shape of isvara;
Note: MAHESVARA or MAHADEVA is SHIVA. This states that AVALOKITESHVARA’s transformation is SHIVA.
To those who are to be converted by Mahesvara, he preaches assuming the shape of Mahesvara.
To those who are to be converted by a Kakravartin [This term is ambiguous; it means both ‘the mover of the wheel’, i.e. Vishnu, and ‘an emperor’], he shows the law after assuming the shape of a Kakravartin; to those who are to be converted by an imp, he shows the law under the shape of an imp; to those who are to be converted by Kubera, he shows the law by appearing in the shape of Kubera; to those who are to be converted by Senâpati [Ambiguous; the word denotes both ‘the commander-in-chief of the army of the gods, Skanda,’ and ‘a commander-in-chief in general’], he preaches in the shape of Senapati ; to those who are to be converted by assuming a Brâhman [the Brâhman may be Brihaspati] , he preaches in the shape of a Brâhman; to those who are to be converted by Vagrapâni [Vagrapâni is the name of one of the Dhyânibuddhas, and of certain geniuses, and an ephitet of Indra] , he preaches in the shape of Vagrapâni [The function of Avalokitesvara, as it appears from these passages, agree with those of Gadgadasvara mentioned in the foregoing chapter]. With such inconceivable qualities, young man of good family, is the Bodhisattva Mahâsattva Avalokitesvara endowed. Therefore then, young man of good family, honour the Bodhisattva Mahâsattva Avalokitesvara. The Bodhisattva Mahâsattva Avalokitesvara, young man of good family, affords safety to those who are in anxiety. On that account one calls him in this Saha-world Abhayandada (i. e. Giver of Safety).