Hyperborean Arts & Architecture

Apollo

The Primordial Tradition points to Apollo-Lucifer, the light bringer, as the most outstanding exponent of the Aryan spirit: “the Aryan is the Prometheus of Humanity” (Adolf Hitler, My Struggle). The Aryan, whose pure blood gave existence to the Golden Age, granted humanity the Vril, the “fire of the gods”, the creative capacity for civilization and knowledge. This is the esoteric meaning of the Olympic fire of ancient Greece, the ‘state of grace’ that binds the Hyperborean race with the Pantheon Gods. The Aryan “blood memory” reflects the divine world, the memory of Olympia or Paradise.

The Athenians were assigned by the Hyperboreans the role of bearers of the initiatory culture, just as the Gods did to those who had founded Atlantis. Plato referred the “titanic nature” of mankind, as described in the Orphic myth. In this way, the gods of the pantheon had shaped the sanctuaries of Delphi, Delos, and Olympia, the central points of Greek civilization. In Greece, Apollo, the Hyperborean, was the rising Light of the Dawn, the guardian of everything noble and joyful, the mediator of the prophetic gift: “know yourself, and you will know the universe and the gods.”

His main temple was erected at Delphi. As is known, this was the place he defeated the monster that ravaged the place, the serpent Rthon, and established his oracle. The cult of Apollo is related to the journey of the sun and the position of the solstices. Apollo, the sun, is born on Delos at some point during the year, because it seems to ‘stand’ on this island, not moving any further South. Then, little by little, he marches North, towards an undetermined place. In the same way, he ‘stops’, ‘turns around’ and repeats the journey South again. That undetermined Northern place is known as Hyperborea. We must not forget that in Delphi, Dionysus was worshiped during the winter months, which was precisely when Apollo took advantage of paying a visit to the pious Hyperboreans.

It is logical to link Apollo, as a solar deity, with Helios, God of Vigilance, Wisdom and Light. Helios father is actually Hyperion, or Ymir in the Norse tradition, the founder of the Hyperborean root-race of primordial giants. In 280 BC, a statue of the sun god Helios, the Colossus of Rhodes, the tallest statue in the ancient world, was erected on the island-city of Rhodes. It was a symbol of protection, civilization and strength, and is recognized as one of the Seven Wonders of the Ancient World. It is a testimony to the memory of Promethean blood, the worship of solar deities and the embodiment of the Hyperborean Titans’ myth.

Athena

Pallas Athena or Minerva, is the goddess of Agartha, the virgin, protector of peace, philosophy, and the seven Hyperborean arts. In the Hyperborean minor arts, sculpture, music, painting, rhetoric, and three major arts; politics, architecture, and the art of war. The Hyperborean divinities, the feminine spirits, reveal a metaphysical truth, awaken in the blood the memory of a lost L-ove that calls us and asks us to remember again. Whether as a goddess of Olympus or as a Valkyrie of Valhalla, the Hyperborean Virgin carries the eternal spirit’s purity and describes the heroic mystique that leads to liberation.

Athena Parthenos instills in the hero the courage necessary to face his enemies on the front line of battle. Her infinite gaze reflects the perpetual L-ove that she feels for her comrades who fight to the end, to the death, to free themselves from Maya's chains. Athena Promachos, the one who “fights in the front line of battle”, gives the warrior the weapons to march into war, the shield and the spear. She always rides alongside the warrior, guiding him in the total search for eternity. Vigilant, with weapons in his hands, she announced what awaited the warrior who did not have enough spiritual purity to be able to look at her eyes directly. Finally, Athena Nike, the winged goddess, grants warriors supreme victory in battles, and, beyond death, she leads fallen heroes to Olympus or Valhalla.

The Feminine Archetype is the personification of the Holy Wisdom, or Sophia; her pure and free being radiates the Mysticism or Grace of the Hyperborean Goddess, of the Sacred Virgin, of the Divine Lady; that breathes into the blood of the warrior (phronesis). She resides in all of humanity as the “Unveiler of all Mysteries”. The Golem priests removed the goddesses, the sacred feminine, and the Hyperborean priestess from the divine Pantheon. The peoples of the Cultural Pact degraded the woman and her mystery and implanted on her the submissive virgin’s condition, the sinful Eve, and the Binah mother.

The Parthenon

All Hyperborean temples awaken nostalgia for an idyllic past, where the virya knew why to live and why to die. Contemplating them allows us to understand, noologically, a spiritual, uncreated and eternal origin. The Parthenon, built in honor of the goddess Athena, reveals the mystery of the carved stone, constructive techniques based on the Golden Ratio. For this reason, its unique beauty, in which underlies a very deep mystery, “the Eternal made Stone.”

The Doric columns and the entasis in them have a purpose beyond the aesthetic; to strengthen the noological and spiritual structures of the Virya; recover the Ionian warrior’s verticality, the virtuous and eternal attitude of the Heracleidae. Entasis is the Vril’s expression, the mystery of the Stone Man. It symbolizes heroic courage, the will of sacrifice, firmness and strength to face the world’s hostility, standing before destiny, in absolute control of oneself and the microcosm.

The ancient pagan temples had a specific purpose; orienting the Hyperborean races to a gnostic path of spiritual liberation, a mystery known as the labyrinth’s secret. All Hyperborean temples are rectilinear, creating a timeless space where the initiate enters and leaves the temple without getting lost or disoriented. Their entrances are conductive, and they direct us in their different directions or spaces. The initiate seeks the metaphysical truth, experiences the myth, solving the mystery or sacred symbols in the middle of the temple. There was an exit door that led the Virya to liberation.

The monotheistic, Christian synarchic temples are quite the opposite. Its fascinating and complex architectures enchant the Virya, envelop him in a hypnotic reverie. At the end of the journey are the sacred symbols, which do not produce in the individual a Gnostic question at a conscious level. There is no labyrinth to solve, and the Virya remains spiritually lost.

The Pantheon of Agrippa

The most significant Hyperborean temple in history, the Pantheon of Agrippa or Hadrian, was built in Rome approximately between 27 or 25 BC by Octavian Augustus. Such is the magnificence of this Hyperborean work of engineering, that its architecture and design are still incredible to admire. It should be noted that the Führer planned to rebuild the Agrippa’s Pantheon in the center of New Berlin: the Volkshalle.

This temple’s architecture is a perfect hemispherical dome, on a circular drum with a diameter of 50 meters. The cylinder has a height equal to the radius, so a completely perfect sphere can be inscribed in the interior space. The inner dome is 43.44 meters (150 feet), making it the largest solid concrete dome built in history. Why is this temple a sphere coming out of a cube? In sacred geometry, the square, and especially the cube, represents the world, matter, the polyhedral quadrangularity of space. On the other hand, the circle and, fundamentally, the sphere, represents the eternal; the void, the spirit. The dome’s central oculus represents the transmutation of the Virya; the door to the original mystery, the liberation of the spirit-sphere from Maya’s polyhedral reality (metanoia).

In the “Vitruvian Man”, Leonardo da Vinci not only honored the main architect of the Pantheon of Agrippa, but also revealed the mystery of the squaring of the circle, the secret of the spirit’s chain (square) and liberation (circle). Nudity symbolizes the detachment of psychological endowments in order to access the true self.

The Pantheon of Agrippa, and many other pagan temples, were not destroyed during the Middle Ages, because the Golem popes needed to decipher the designs of classical architecture, especially the techniques for building domes. These constructive mysteries were kept secret for fifteen hundred years. Although Brunelleschi managed to decipher the secret partially, the excellence of the Pantheon has never been replicated. The architects who built the dome of the Church of Saint Peter (“The Celestial Jerusalem”) made it smaller in diameter.

The Vitruvian Man

The Phi ratio describes the union of the square and the circle, that is, it reveals the mystery of squaring the circle. The golden ratio dictates in creation the growth and shape of all-natural entities; it defines the uncreated in the created. In the Pythagorean’s mystical pentagram, Phi means embodiment, spiritual chain (in medieval anatomy, human proportions were studied as a five-sided star). It also symbolises the world synarchy material power. Leonardo da Vinci understood (was revealed to him) the Phi proportion secret and preserved it in his studies of the treatises on the architecture of Vitruvius.

The Great Pyramid of Giza, the signature between the Swarthy Atlanteans and the Cultural Pact peoples, codifies the spiritual chain in matter, the “union of square and circle.” Its base s the square; its height, the radius of the circle. The height of the pyramid h = r radius of the circle. A line from the top to the center of an edge (apothem = a) has phi units, and the area of a face is the square of phi units. However, the disciples of the Swarthy Atlanteans, the Golem pharaohs, could never reproduce the divine proportion in their constructions. The architecture of the peoples of the Cultural Pact lacked perfection and beauty, were rustic, rough and rude. Only the Greeks and the Romans, through the Blood Pact, knew the science of the eternal proportion.

The Renaissance was a time when a hidden, metaphysical war was unleashed between the Golem priests and House Tharsis initiates (Guelphs and Ghibellines), that will decide the fate of Europe. The Golem priests and their Guelph nobility pursued two fundamental principles, deciphering classical architecture to build their cathedrals and implementing a financial mathematical method that allowed them to apply usury through compound interest.

You can imagine the Golem priests rejoice when Pietro Bracciolini discovered the Vitruvian Treaty of Architecture, with which they would decipher the mystery of Greco-Roman architecture. The rich merchant Leonardo of Pisa, who faithful servant of the Medicci, Guelph nobility, introduced Arabic numerals in Europe (replacing Roman numerals) and deciphered the application of the eternal proportion in financial mathematics, with which the black nobility bankers became wealthy, leading Europe to perpetual poverty.

Wewelsburg Castle

The Gruppenführersaal. In every Hyperborean cultural record (literary, historical, architectural, scientific, technological, mathematical, artistical, etc.), a metaphysical and noological truth is affirmed.

The Pantheon of Agrippa, the Castle of Frederick II, the sculptures of Phidias, the paintings of Leonardo da Vinci, the music of Richard Wagner…; In short, all cultural representation created by Hyperborean Pontiffs, was consciously endowed with a first intention or purpose, which is to attract the attention of the Virya, and a second intention or suprapurpose: to project certain Eternal Symbols, which awaken in the Virya anamnesis, the memory of the divine origin. The hidden significance of the Hyperborean cultural registers remains far from the reach of the Collective Consciousness, but its axiological character, immutable and transcendent over time, is perceived mainly by the initiate.

The Hyperborean Architecture, in its archetypical structures and runic symbols, has the property of channeling the Vril; the vital, astral, and psychic energy of the Virya. Every hyperborean temple is structured under the Occupation principle, the Enclosure principle, the Wall principle, and fundamentally, the strategic opposition to the Cultural Pact. These constructions allow the Eternal Truths of the Hyperborean Gnosis to be remembered by the Virya, to awaken the deepest noological-spiritual powers or faculties, to understand its revealed truth (hypostasis) in order to be initiated into its mysteries.

In Westphalia, the heart of Germany, is the Wewelsburg Castle, the SS Initiation Temple, was built on ancient knowledge for connection with telluric solar energy (archemone technique). The architectural ensemble represents an arrowhead pointing North, indicating the will to return to the origin, Hyperborea. On the first floor of the north tower we find a circular hall, the Gruppenführersaal, with twelve columns joined by arches and with twelve windows behind each column, with the drawing of the Black Sun in the center; twelve rays depart, each one formed by two Sieg (Victory) runes. There a round marble or stone table would be located to receive twelve SS knights. Both Ariosophy and theosophical doctrines affirm that there is a nucleus of twelve drottar or initiates who, from an esoteric center, act on reality as guides of the spirit. Therefore, we can say that Wewelsburg was the spiritual center of the Greater German Reich.

Welthauptstadt Germania

As above so below. That is, there is a direct relationship between the creator and the created; the macrocosm and the microcosm; consciousness and manifestation (Unus mundus). The Pleroma or Wuji orders the sensory world; Spirit modifies Matter; thoughts shape reality: “The All is Mind; the Universe is Mental”, reveals the Hermetic philosophy of The Kybalion. For something to become, reveals Carl G. Jung, the individual has to be in synchronicity with it. The initiate, if he persists in ‘the way’ (henosis), can succeed in submitting the material manifestations to his Willpower. Once the Will is determined on an ultimate goal, it is projected through invocation, visualization, and projection. This is what Christ means when he says: “seek the Kingdom of God and everything else will be given to you by addition.”

Invocation generates a vibration (logos) product of the Willpower, and from its actions, it is possible to contact the spiritual principle (nous) and obtain the power to modify reality. First, the mind issues a link, that is, a judgment made by the imagination. The ability to influence our surroundings lies in recognizing the bond of bonds; Love (Pneuma or Prana), the motor of the universal will that unites all things (Anima mundi). Sexual energy expresses this energy in the form of personal magnetism, which is commonly called “that something”. The magic, for Giordano Bruno, is based on the manipulation of bonds (Eros) to project or attract whatever has been visualized through imagination. This is only achieved through chastity, since any sexual discharge only weakens the bonds.

In Jungian psychology, individuation is the process of reshaping reality by transforming one's psyche; bringing the personal and collective unconscious into consciousness. In the manner of Goethe’s Faust, a metaphor for the Creative Daimon, Rudolf Steiner’s process of “individuation” or henosis falls within three stages: Imagination, Inspiration and Intuition. Imagination opens the vision of the Pleroma, the spiritual ‘reality behind reality’, Inspiration unveils the Macrocosm and Intuition enables man the means to communicate with the Aeons; “the archetypes of all living beings”. Nikola Tesla spoke about the Pleroma which he named the ‘core’: “My brain is only a receiver, in the universe, there is a core from we obtain knowledge, strength and inspiration.”

Adolf Hitler, whose whole career has been described as “the remarkable achievement of human willpower alone”, believed that the magical correspondences between Macrocosm and Microcosm had been the source of power behind his personal self-realization and destiny; “the aim of human evolution" he said, "is to attain a mystic vision of the Universe.” This concept is clarified in his speech on February 2, 1933: “My SA and SS: Certainly in the imagination, what we wanted also existed before. Everything that is thought, someone has thought before, everything that appears in the human imagination, was also imagined by others. But the important thing is that such imagination, thought or idea, find the way out of the weak terrain of the ideal to come to fruition, that such idea finds the bodies and the organization that gives it shape, and that of this idea and its organization, it is possible to create, with effort, the force that allows turning the imagined into reality”.

People who have achieved the impossible agree that giving your life to a purpose generates your own destiny; It makes what you want to become a fact, a self-fulfilling prophecy. In other words, if we want something, we have to embody the desired thing. During his youth, Hitler was a nobody. He had no money, no family, no university studies, nor political experience. All he possessed was a fervent desire to redeem and glorify his nation. It was his burning desire that awakened the soul of the German people. Fifteen years this dream lasted in his heart until the world saw it come true. He was the living embodiment of the people’s longings; the Greater German Reich come to life because of him. Hitler deeply aim to embody the savior archetype and, as consequence, he synchronized with the thoughtform (zeitgeist, collective unconscious or egregore) and ended up becoming it.

Welthauptstadt Germania was Hitler's vision for the future of Germany. He and Albert Speer, “the first architect of the Third Reich”, sought a cultural and spiritual renaissance in Europe, the artistic and architectural recreation of the mythical Hyperborean-Atlantean Golden Age, reversing its “endless history” of corruption and social decay of the Kali Yuga. The monumental neoclassical buildings of the new capital city were meant to have a “ruin value”, that is, to become an eternal testimony to the glory and greatness of the Reich, just as the ancient Greek or Roman ruins were symbols of the greatness of those civilizations. However, the outbreak of the fateful World War II led to the eventual abandonment of the New Golden Age city.

Why did Hitler fail his mission when it seemed that he had the most determined spirit of all time? During World War II, the continuous German defeats made him think that his downfall was imminent, and that doubt in his heart quenched the Force of desire that burned for so many years, which led to his defeat.