Very Class Myths From Creator Gods Association For * Cosmos Creation From * Parabrahma .

1. Amen Ra as Khepera introduces another set of
symbols and represents both the first manifestation of
Cosmic Ideation, the first Emanation
from Parabrahman, and the principle of ordered
cyclic activity as a result of which, through will,
thought, word, and outpoured Fohatic power, Virgin
Space is differentiated, circumscribed in an area,
impregnated or fertilized that the seeds may bring
forth their fruit. The picture portrays a very lofty
metaphysical concept and was designed by a high
Adept in one of the Sanctuaries. It is full of the most
profound meaning, and is a revelation of the highest
truths both of occult cosmogony and of microcosmic
magical creative powers...

2. Purusha has become Mahat (the human figure) and
donned the covering and form as a cloak of Khepera,
the scarab, symbol of Fohat. Fohatic creative energy
is being liberated into the Universe as portrayed by
eight uraei and seven wings and tail. The Adi-
Atmic shaft of atoms, planets, and sun is being
established as shown by the sceptre which also is the
spinal chord of man. From above, which is
from Parabrahman itself, Purusha and Prakriti, in
active creative union as symbolized by the plumes,
produce their primordial Logos which
is Mahat, symbolized by the egg-shaped halo, the

3. human head within, and the eight serpent heads, four
pointing to the right and four to the left. This
istanmatra producing Tattva by the agency
of Fohat, and the four serpents represent Fohat in the
four form planes of , and
physical, on both the downward and upward arcs.
horns rising from the anterior fontanelle
further portray the creative power inherent
in
and
… each curving horn and their appropriate products,
the eggs resting on each, whilst spinal chord
fontanelle and plumes complete the triad and portray
the Sushumna. At the top of each plume a fiery
serpent force is portrayed at the level ofAdi, and from
the mouth of each serpent is emitted atom-
forming Fohat, the atoms themselves being
deliberately portrayed and in their correct heart
shape. They are arranged in a mighty arch enclosing
the God. This is the Royal Arch[24] in its masculine
potency just as the Goddess Nut in the previous
picture[25]displays the feminine.
Primarily, the arch above the figure of Amen Ra
symbolizes the plane of Adi which encloses and

4. pervades each Universe and opens at its keystone
into Parahrahman which, in the picture, is rightly left
invisible. All symbology of arches with right and left
pillars and connecting curve to give stability—
positive and negative conjoined in dynamic
equipoise—is portrayed in this atomic arch in which
stands the creative God.
This picture is remarkable for the fact that it is so
clearly based upon fundamental geometrical
principles. It portrays not only the three directions of
space, but also a fourth interior direction, that
mysterious “within-ness” from which the external
“without-ness” emerges.
This fourth direction which leads from the three
directional physical, to the omnidirectional—Adi-
Parabrahman—might be represented as pyramidal.
The fourfold base corresponds to the physical plane
with its four cardinal points, as also of course to the
four form planes counting both the etheric and Manas
II as a plane.
From this quaternary in unity there extends inwards
that which can only be described three-dimensionally
as a shaft which passes through the axes of all atoms

5. up to the Adi atom. Actually, such direction or so-
called shaft does not pass through the atoms, but
suggests movement of consciousness past the outer
shell towards the centre or heart of the atom which,
when entered, in its turn proves to open out into
infinity, or from Adi into Parahrahman.
This infinite deeply interior Source which
corresponds to the apex of a pyramid, the point of
which should be cut off to imply entry into the
Infinite Source, is portrayed in the picture by the
double plumes with their central stem. Their summits
do not touch and the strange serpentine forms
emerging from them into a still higher region, all
symbolize infinity or the boundless Source. The
reason why the apex of the Great Pyramid was not
completed and there was left a flat square surface
instead, the so-called platform of the Gods, is to
portray this profound truth...
Horizontally across the figure... are drawn the two
upper wings. Of these, the uppermost is formed of a
line which passes through the throat, and the second
of a line which passes through the heart. These two
wings represent the higher and
lower Manas respectively or the power or shakti of
divine thought at the Causal and lower mental levels.
They are manifested Mahat or divine Intelligence

6. focused in, and limited to, a particular field of
creative activity; you will note that the wing-shape is
chosen, that wings are made of feathers, and that the
feather is the symbol both of the Goddess Maat
herself and the cerebro-spinal system of man of
which it may be thought of as the archetype.
So the picture portrays the descending, threefold,
creative agency established in the arupa worlds
from Adi to middle-Manas, reflected in
the rupa worlds...with the ground on which the God
stands as base, representing the dense physical plane,
the mineral kingdom in fact.
Yet the God Amen Ra fills the whole picture. The
tops of his plumes with their extension pass out
beyond the arch whilst his lion-feet rest on the
ground. His wings and arms are outstretched in the
various directions of space, portraying him as the all-
pervading creative Spirit, omnipresent and omni-
conscious throughoutthe field of creative activity...
represent the
potency of all deific powers in both Universe and
man, the Causal body, wherein those seeds or germs
are laid or deposited by the Scarab-Logos who is
Amen Ra: mysterious indeed, not to be
comprehended by any consciousness limited to the

7. form worlds. Therefore, the scarab form...appears
below the upper horizontal line of the uppermost
wing representing the limits of mind, both lower and
higher.
Only by intuition and will, represented by the head
and all above, may that mystery be solved. Yet it is
solvable, and the illumination once reached can be
brought down at least to the higher mind to illumine
the lower as the outlines, by their shape, perfectly
portray. For the upper part of the scarab form forms a
collar, whilst below it is a breast-plate reaching as far
but no further than the heart, symbolizing higher and
lower mind illumined by spiritual vision. From
thence the light flashes down to body and brain along
the Causal shaft as portrayed by the vertical line of
the lower part of the scarab form.
Outside of this, delineating the edge of the scarab
shape, the lines portray the Auric Envelope of the
lower vehicles illumined as a result of the intuitive
comprehension of the One Dark Truth, the abyss
brought down as far as may be into the personal
vehicles and life. The picture thus also portrays
illumined man, Initiated man, in fact, the Adept
consciousness at one with the Divine, fully
comprehending divine Truth and fully manifesting
deific powers. The lion-feet are a direct reference to

8. this human or microcosmic interpretation. For the
Initiate in certain ancient Rites was designated the
Lion as he passed through a certain grade, as did
Samson and Hercules in the Jewish and Grecian
mythologies.
Majesty manifested in and through the mind, brain,
and person and personal life, is intended by the
symbol of the lion or any parts thereof.
Thus he stands in this
,
emanated from the
made manifest in material
form with deific powers brought down into the dense
physical world...
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