Despite attempts to hide the information the red line of knowledge that winds through 1,800 years of European history can still be identified, linking Linear A & B clay tablets in Greece, made from the 6th century BC, to Ogham and Runes in Ireland and Scandinavia made until the 10th and even as late as the 13th century.
Were ruins in Crete and Mycenae described by 19th-20th century archaeologists as "Bronze Age palaces" learning centres where meditation was taught, still in use until the 4th century? Were the Linear A and B clay tablets - found "in an abundance of ashes" - stored in libraries that also contained texts written in manuscripts of birch bark or papyrus?
Can it still be known what was written in the texts?
Can the secret scripts of Europe still be deciphered by following the trail of evidence left by thousands of objects: Greek Linear A and B clay tablets, Ogham of Ireland and Runes in Scandinavia and the master key: the Phaistos Disk?
Were the Linear A and B clay tablets discovered in Greece
a forgotten dialect of phonetic archaic Greek -
or drawings made by teachers
to systematically illustrate meditation methods for their students?
On the Phaistos disk 47 images appear in a linear numerical order that can be used as a master key to translate objects made during 1,800 years in Europe, from the 6th century BC during the lifetime of the Buddha (624-544 BC) until the 13th century when thousands of rune stones were made in Scandinavia.
Many images first used to make tiny drawings on Linear A and B tablets discovered in Crete were reused 1,500 years later to make massive engravings on open air rocks to teach the meditation system that was still practiced, unchanged. The large engraved figurative images that tell the main storyline were surrounded by 16 different symbols of the Elder Futhark Rune alphabet arranged in 12 fields to explain details. Each symbol had a name and a definition to represent an ideogram (definition), described as riddles in rune poems.
The mathematical formula - first illustrated on the Phaistos Disk in Crete with the use of simple images and grouped into fields to represent different layers of numbers - was reused on the Ramsund stone in Sweden, combined with images that explain concepts in the meditation system. The dog represents ignorance that will be destroyed by the giant whose head is detached: concentration. Kamma is forged at the anvil, flamed by the burning fire of passion (life), but defilements can be destroyed: the horse eats the tree of life (an-iconic symbol for the Buddha). The meditator hangs from the tree of life - the fruit of his own kamma - observed by the investigating mind, the birds (past & future life); the roots of craving that bounds the meditator to rebirth will be cut with the sword of wisdom carried by the warrior who attacks defilements from his past. The cycle is broken: the meditator will attain liberation and not be reborn in future.
An overview of the meaning of the images on the Phaistos Disk: a complex meditation diagram with multiple layers of knowledge - a tool to teach students not limited by language barriers.
Animated text clip, no sound.
The meaning of many northern European objects can be recognised by Images and numbers. The “S” as used on clay tablets represented a snake: rebirth and Dependent Origination (metempsychosis in Greek): to investigate past and future lives. The codes were used in the same order as found on the Phaistos Disk in a kind of "shorthand" to write messages in different countries where different local styles and materials were used for up to 1,800 years, but the symbolic meaning was never changed.
Clay tablet from Mycenae c. 250 BC and Gotland stone in Sweden c. 8-9th century AD.
Wheels of Dhamma: clay tablet from Knossos in Crete c. 250 BC and Ireland Dowth kerbstone 51.
From Crete to Norway:
Langeid Sword of wisdom
and axe to cut roots of defilements
The Langeid burial in Norway with "sword of wisdom" and "axe to cut the roots of the tree of life" can be linked to the Labrys double-edged axes and Linear A and B tablets found in Crete, the abstract symbols were used in Newgrange in Ireland on a massive, oversized scale to illustrate observation with the concentrated 6th sense.
The "ship" illustrated the goal of the meditation system: to cross the ocean of samsara. The meditator can "follow the instructions of the captain of the ship who knows the way”, an expression used in Pali texts. The ship on the Phaistos Disk was turned at an angle to illustrate the action of "investigation and analysis", the same method was still used to design Viking coins in the 9th century. In Gotland the ship with "the captain who knows the way to cross the ocean of samsara" was a main theme used on standing stones.
When routes via the south were too dangerous visits to India continued via northern trade routes, high quality evidence is found on engraved "Viking swords of wisdom" discovered as far as east as Siberia and Ukraine. The Langeid sword is an extra-ordinary object, its symbols copied from the Newgrange site. The "E", the spirals and "acrobatic man" bending backwards with 5 hooks refer to 5 clinging aggregates.
The horse was the an-iconic symbol most often used for the Buddha in Europe as symbol of the prince who left his life of luxury on his white horse Kanthaka to dedicate his life as an ascetic to the pursuit of liberation through concentration. Votive coins were minted in Europe with images of horses are coded diagrams of the meditation system small enough to carry in one's pocket.
The coded numbers of the Phaistos Disk were systematically applied to design objects in Europe for 1,500 years. They illustrated the meditation system through the use of abstract visual images (ideograms) that can still be recognised and analysed. The wide variety of objects, from small coins of 13 millimetres in size to standing stones of over 2 metres and even life-sized ship burials such as Sutton Hoo in Britain, Oseberg in Norway and Manx can still be translated by using the order of the numbers as illustrated on the Phaistos Disk, the "master key". The series of numbers is the foundation: the source of knowledge never changed.
In 120 AD the Neoplatonic philosopher and priest at Delphi, Plutarch, a collaborator of Hadrian, described in 21 paragraphs the meaning of the Greek letter E, 5th of the Greek alphabet that was found on the facade of the Temple of Apollo at Delphi: "On the'E' at Delphi".
The essay is one of the few texts that was not burnt, but similar to the Book of Ballymote the text was changed. The 21 paragraphs of the essay match the definitions of the Ogham and Rune alphabets, still recognisable despite an attempt to corrupt the text.
The letter 'E' was used on objects big and small until the 10th century to illustrate the "5 clinging aggregates". Variations and other symbols with a more subtle meaning, such as the 5 spirals of kerbstone 1 at Newgrange, were used to illustrate the number 5; the 'E' at Delphi.
The site of the mounds at the Valley of the Boyne, the Brú na Bóinne in Ireland, may have been a learning centre started by philosophers, the Boii from Delphi in Greece and the Milesians from the city Miletus - the legendary Milesians, sons of Mill from Spain who supposedly invaded Ireland, legends described in the Book of Leinster and Book of Ballymote.
The list of “named Oghams” in the Ogham treatise, that includes the “Younger Futhark, ogham of the Norsemen”, are illustrations that can be used to decipher the codes on hundreds of engravings on the massive rocks, the abstract, oversized symbols resemble that of Linear A and B clay tablets - the original source of gestures and hand signs that were used to teach meditation.
Certain engravings were illuminated by the sun to reveal the working of the “light of wisdom” of the concentrated 6th sense, systematically following methods of the meditation system. An inscription on a Pict stone at Newton, Scotland s evidence that Kharosthi texts from India may have reached Ireland and Scotland on birch tree manuscripts in a long tradition of intellectual exchange, comparable to modern universities.
When objects are compared, ignoring the scrambled information of corrupted histories, a red line of knowledge that started with Pythagoras winds through European history, leaving a concrete and visible trail of evidence. If Pythagoras used scribbles on wet clay tablets to teach students - writing learnt in Babylon in Mesopotamia and hieroglyphs in Egypt - then Linear A and B clay tablets are evidence of meditation techniques originally taught by the Buddha: Dependent Origination, its equivalent metempsychosis in Greek, and the Four Great Elements (earth, water, fire and air) to see objects dissolved into space and particles.
The symbols in different regions that were used during 1,800 years can be compared to the table of the Ogham script in Ireland that illustrates the cross-references between hand signs originally used to teach the meditation system.
Not all the Romans were the decadent killers described in corrupted ancient texts such as the books of Tacitus and the spurious 5th-century Historia Augusta, used by modern scholars to define the history of antiquity. There is a mass of evidence that Romans who traded with India were also practitioners of meditation for many centuries, ruling from "friendship" rather than force, described by Christian monk Gildas:
“5. For when the rulers of Rome had obtained the empire of the world, … peace which they made with the Parthians, who border on India, there was a general cessation from war throughout the whole world; the fierce flame which they kindled could not be extinguished or checked by the Western Ocean, but passing beyond the sea, imposed submission upon our island without resistance, and entirely reduced to obedience its unwarlike but faithless people, not so much by fire and sword and warlike engines, like other nations, but threats alone, and menaces of judgments frowning on their countenance, whilst terror penetrated to their hearts.”
- Gildas c. 540 AD, On the Ruin of Britain, Project Gutenberg
A few short clips with animated text illustrate the high quality of Roman knowledge about the meditation system.
Illustrated in the video clip
Did Agrippa and later Hadrian build the Pantheon of Rome as a meditation diagram?
The general of Emperor Augustus, Agrippa, built the Pantheon in Rome which burnt down and was rebuilt in its present form by Hadrian 117-125 AD.
- The entire structure and all decorations in the Pantheon was built according to the Mystic numbers of Pythagoras. When compared the same system of numbers was applied at the Brú na Bóinne in Ireland where sunbeams highlighted meditation methods and concepts, similar to the effects in Maeshowe, Orkney.
Instead of subduing their subjects violently, certain Romans ruled through the "hand of friendship": cooperation based on mutual respect and generosity.
Illustrated in the video clip
Mysteries of Mithras
If Hadrian reintroduced the dialectics of philosophy based on the meditation system of the Buddha, the numbers as used to design famous objects can be analysed and translated into meaningful messages that quantified votive dedication and could be used as tools for education.
- Parade helmets depicting "higher beings" and the ideals of a better rebirth, as described by Plato in dialogues in particular the death scene of Socrates, were used to train Roman cavalry, members meditated in the manmade caves of the Temples of Mithras built from Scotland to Petra in Arabia.
Did the Gundestrup Cauldron have the same function in the Pantheon of Rome as the massive stone basins in Newgrange, Knowth and Dowth?
Beeswax of the Gundestrup Cauldron was carbon dated to 93-144 AD by the Natmus, silver was identified to come from western France, where the Plougastel-Daoulas engraving contains a long Latin inscription comparable to Ogham and Runes, Osismii Celtic coins illustrated systematic "mental investigation". German coins were from the area of the Glauberg Prince, the "dancing mannikin coins" illustrated meditation, first minted by Emperor Augustus' general Agrippa, who first built the Pantheon, Rome.
- The Gundestrup Cauldron was designed as a meditation diagram to visually illustrate an overview of the meditation system, with sufficient knowledge the complex internal relationships are revealed to more advanced meditators.