The Hebrew Swastika and Midnight sun

An article on the Hebrew Swastika and Midnight sun, an open letter sent to some Jewish institutions in The Netherlands

Saturday april 28th, 2007.

As far as I know there are no sacred Hebrew-Jewish counterparts today, of the most powerful evil symbols of the 20th century, the (clockwise rotating) Swastika and the 'Black Sun' which adorns the floor of the 'Obergruppenführersaal' of the 'Wevelsburg' of the former SS, near Paderborn, Germany.

The Swastika (rotating to the right or to the left) is an ancient symbol which was utilized by many early civilizations. It represents among other things, the cosmic and human kundalini power, about which more will be said later. The 'Black Sun' is less wellknown. Hermann Wirth PhD (1885-1981) proved that the old Merovingian's knew this symbol. It represents the macrocosmic and cosmic kundalini. It depicts a sig rune repeated twelve times.

Some Hebrew letters

the aleph	( a )	-		( numerical value 1 )
the waw	( w, o )	-		( numerical value 6 )
the jod	( i )	-		( numerical value 10 )
the lamed	( l )	-		( numerical value 30 )
the mem	( m )	-		( numerical value 40 )
and the shin	( sh )	-		( numerical value 300 )

can be utilized to design a characteristic Hebrew Swastika and a Hebrew Midnight Sun (and -moon). Some examples under
I (Cross and Sun) and
II (the utilized words).

'Signs and symbols exert an enormous influence on the human soul, because in the end they represent the secrets underlying the origin of the world. When they are placed in a sacred space, a space where one speaks about such secrets and related subjects, they work differently than when they would have been placed in a profane space. In the first case those signs and symbols enliven and heal the people present, in the second case they make those present ill, albeit unconsciously and in the long run. In the first case they mobilize man's life force unawares and foster his mental harmony, in the second case they slowly ruin his digestive organsand set his emotional life off-balance unawares.'

Rudolf Steiner: 'Mythen und Sagen. Okkulte Zeichen und Symbole'  Bibl. nr. 101; Dornach 1987; p. 192

With regard to this statement of the Austrian philosopher Rudolf Steiner (1861-1925), a contemporary of and an adversary to Hitler, the employment beyond measure of some of the world's most remarkable symbols by the Nazis is food for thought.

In hindsight it appears probable that without these and other occult symbols the Nazis would have been less impressive and would perhaps not have gained it's destructive domination. Because of this Lenie Riefenstahl's movie 'Triumpf des Willens' was banned after 1945.

It is conceivable that, applied in a pure way in accordance with the purport of the quotation, a secred Hebrew Jewish alternative of some of the world's most remarkable symbols could have sense and meaning. And could exercise beneficent power.

Hopefully these designs can be put to good use.

I: Illustrations of Cross and Sun

1. The Hebrew Swastika in it's simplest form The letter Waw (hook)  The word waw (hook)

2. Hebrew Swastika

3. Hebrew Swastika

4. Hebrew Square of life

5. Hebrew Swastika

6. Hebrew Sun Counterpart of the Black Sun of the Nazis.

7. Hebrew Sun Counterpart of the Black Sun of the Nazis.

8. Hebrew Moon

The swastika represents primarily - in whatever shape - 'the human serpent fire system', 'the human kundalini', by which the chakra's can be developed into spiritual sense organs aimed at acquiring 'first hand knowledge of the spiritual world', concerning threefold knowledge, a threefold faculty:

1. Imagination, the faculty of clairvoyance.
2. Inspiration, the faculty of clairaudience.
3. Intuition, the faculty of feeling at one with all and everything.

Furthermore the Swastika represents the tail-bone chakra and the accompanying sex force. From this Chakra (mûlâdhâra) the kundalini manifests itself. (Although not before it has been renewed by 'the purified heart').

After the development of the aforesaid faculties the man 'of good will' is able to make an 'evolutionary leap': he can become 'a new man in Christ'. This is an elevation and expansion of what is called in the esoteric tradition 'the major initiation'. This evolutionary leap can be made by the imitation of Christ in His death at Golgotha (the crown chakra, sahasrâra) , the resurrection, and His ascension. This is depicted by the Rosy Cross (ill.9) and the 'renewed Tao Cross' (ill.10).

9. Polar Shift Christ's death on the Cross

10. Polar Shift Christ's Ascension

II: Terminology used

	=	waw, 6th letter of the Hebrew alphabet.
	=	waw (written in full) = hook ( - conjunction 'and'). The Lord's home is surrounded by hooks. These are formed by the 'men of good will', among other things in the appearance of the world cross, the Swastika.
	=	David = The beloved (- David). Israels first king 'dear to God', from whom descends the Messiah.   , pronounced as 'dood' means 'uncle', in a past world certain love relations within the family were meaningful.
	=	Shemesh = sun (- servant). Shomeish = to serve. The sun serves, so that we, humans, 'can be free'.
	=	Shem = moon (- son of Noah). Patriarch of the Semites 'under the new sun', after the deluge.
	=	Shesh = six (- linen, - marble). The apocalyptic periods, typified by the number 6: 6, 66, 666, 6666 etc., will come. This is as solid as marble. But what they bring is still partly veiled, with linen.
	=	Leejl = night (- evil spirit). Because on earth the external has become dominant, Leejl =    has become Lulu and Lilith =            = The ancient moons, Adams spouses next to Eve.

The Black Sun of the Nazis

For the sake of completeness and comparison with what is mentioned above, two illustrations of the Black Sun of the Nazis.

The floor of the "Obergruppenführersaal" of the Wevelsburg of the Nazis

The Black Sun of the Nazis See for its counterpart the black (Ill. 6) and the yellow (Ill. 7) round Shemesh Sun.

The following text (a letter to seven Jewish Foundations in The Netherlands)
is a sequel to the article about the Hebrew Swastika

Dear Sir/Madam,

On the internet I published a letter about a Hebrew-Jewish matter with a series of illustrations (app.I) and an explanation (app. II) on April the 28th, 2007. This letter concerned the introduction of a Hebrew-Jewish Swastika and the Midnight Sun, and ended with the wish that you would be able to make good use of it. This internet letter with its appendices, you will find in summary attached to this handwritten letter (also type written), as appendix A.

It introduces:

A more powerful version of the Midnight Sun, with some variations, based on the Shamir, the worm who (parallel to the labour of Master builder Hiram Abiff) for King Solomon, built for the first 'Temple of the Lord'. See app. A.

Illustrations of a possible employment of that Sun with regard to the future building of 'The third Temple of the Lord'. See app. B.

This part describes not so much the pictorial elements of the designs - to the knowledgeable they are obvious, he can see which secrets are encrypted in them - but to the context thereof. This will begin with some remarks on Israel's Ark of the Covenant and ends with a short biographical note which shows the motive, with the not verbalized but to be guessed reason as to why I'm writing you.

Of the Aroon, the 'chest of light', the Ark of the Covenant, the Old Testament tells us: She was a gold overlaid chest of acacia wood, with on her lid of pure gold two cherubs bent towards each other, with in it 'the great secret'(according to St. Paul: Mozes's Tablets of the Law, Aaron's Staffwhich had bloomed and a small jug of manna). She measured 2,5 x 1,5 x 1,5 ell (5 x 3 x 3 half an ell) and stood in the middle of the Holy of Holies of Mozes's tabernacle and Solomon's temple at Jeruzalem, a space of 20 x 20 x 20 ell. Untill she - the Aroon 'disappeared'.

These things are well known.
The Talmud adds to this something remarkable: the distances from the Aroon to the walls of the Holy of Holies measured 10 el everywhere. This means that the Arc did not take up any space, at least eventually.
It appears that her mysterious disappearance just before the exile to Babylon is somehow connected to this. The Ark has indeed not disappeared but has been 'transfigured', elevated to a higher existence, like Apocalypse 12 : 19 reads: 'And the Temple of God which is in heaven opened its doors and the Ark became visible. And lightning and voices came, and thunder and earthquake and a heavy hail'.

To keep the Aroon out of the hands of the unauthorized she could exist in two worlds; via a loss of the physical dimension depth, width, length, and gaining spiritual dimensions, respectively imaginative, inspirative and intuitive existence.
About the first phase of that process regarding the Aroon, loss of depth and gaining of the 'imaginative dimension', the so called 'flat Ark' I previously published; see further on. (About this process is taught extensively in all religions and spiritual movements, especially with reference to man as temple of the spirit, but also otherwise).

Inserted pages from my book 'De Alchemische Bruiloft ontcijferd'

(The alchemical wedding deciphered, page 41 and following, especially 78 and 80 where the 'Tree of Life' is compared to the sketch here depicted, an illustration of the 'Flat Aroon'.)

Page 83 of aforementioned book, fig. 15.

The magical 19-hexagram using the numbers 1 through 19, in the setting of an empty 37-hexagram. The magical sum 38 appears 15 times, five times in three directions.The magical 19-hexagram using the numbers 1 through 19, in the setting of an empty 37-hexagram. The magical sum 38 appears 15 times, five times in three directions.*1 The magical sum 38    = 10 + 12 + 16    = 13 + 4 + 2 + 19    = 10 + 13 + 15    = 15 + 14 + 9    etc. (15 times)

*1 Pattern of the Tree of Life:

If one connects the numbers by threes or fours they reveal the pattern of the Tree of Life.
This figure shows the magical 19 hexagram in an empty 37-hexagram with on it, instead of the Bethesda angel, two angels with a sun behind them encompassing a pentagram from which 7 x 7 rays come forth.

Figure 15 represents as elaborately as possible the bath Bethesda. The two angels are to be seen as being actually one androgynous angelic pair and the sun is the Christ Sun with the heavenly power of the Sevenfold Holy Spirit.

But the picture is made in such a way that one can also interpret the magical 19 hexagram with the other elements as the Famous ark of the Covenant, about which one can read in Exodus 25 : 10-22. That ark was a chest of acacia wood, 2,5 ell long, 1,5 ell wide and 1,5 ell high. In half ell's that would be: 5 half ell's long, 3 half ell's wide and high. These measures correspond exactly to the measures of the magical 19-hexagram, which is 5 fields high and to the left and right 3 fields wide.

Just as the Ark of the Covenant has these measures in three dimensions, so does the 19-hexagram have them, in two dimensions. In this respect it is of importance to notice that in the Talmud Basli and also in the works of F. Weinreb, it is stated that the Ark of the Covenant was placed in the Holy of Holies of the Temple, which measured 20 x 20 x 20 ell, leaving a space of 10 ell to the walls, from which follows that the Ark was flat and so it wasn't a three dimensional shape after all!

On the lid of the Ark there were, according to Exodus 25 : 18-20, two cherubs (angels) facing each other. In "Die Sagen der Juden", part 1, E. Bock states that above the ark the coming Messiah, the Christ, can be seen, of whom emanates the Septenary Holy Spirit. According to Hebrews 9 : 4-5 in the Arc there were: the staff of Aaron which had blossomed, the jar with manna from the desert and the tables of the Law.

The geometrical pattern of the magical 19-hexagram is not only easily equaled to the cabbalistic Tree of Life. R. Steiner states that the Tao Cross with the triangle - a pert of the geometrical pattern of the 19-hexagram - is the symbol of manas, or manna. Whereas the Tables of the Law were seen later as a scroll, when halfway rolled out, resemble a lemniscates, which is also a part of the geometrical pattern of the 19-hexagram.

Altogether this illustration of Bethesda shows that the bath, as it is discussed in this essay, is a New Testamentical metamorphosis of the Holy Arc of the Covenant from the Old Testament, as being thé attribute which unites God and man.

(Take note that magical hexagrams are more powerful than magical squares!)

[End of inserted page]

The Mishna teaches that the Aroon is the prerequisite to the coming of the 'Temple of the Lord', Mishkan,   , the Jewish 'mosque', which is in it's turn the prerequisite of the coming of the Messiah.

And in order that he can and will come, so do many jews expect, their Mishkan, which was destroyed twice, needs to be rebuilt. On theMoria, the Temple mountain; possibly without a physically present Aroon, because that also wasn't present in the 'second temple', and is today only spiritually present in the hearts of the 'people of good will'.

However today, on Moria stands the Islamic Mosque of the Golden Dome. In it's full splendor physically present. And as long as it stands there, it will prevent - so it seems - the (building of) the 'Third Temple'.
But is this really so?

Could it not be that the present condition of world and man, especially on the Moria, show us something of a new guideline as to how the 'Third Temple' should be built? A guideline which needs hardly any extra physical space and with which one can start straightaway?
Don't the remnants of the wailing wall show, with it's one corner, Hakotel hama 'aravi, , a so called overlooked 'public secret'?
In other words: doesn't this wall show that the third Mishkan should be a physical two dimensional temple - Only in height and width - of which the third dimension, depth, is replaced by a new contemporary form of imaginative existence? An existence which can for instance start with the restoration of the wall into a 'stone title page of a renewed covenant with the lord'?

This question can be put in a different way each time; also like this: doesn't the Wailing Wall prove to be an intermediate station in the process of fysical dimension reduction (transfiguration), that the Aroon underwent accelerated and totally at one time?
Readers of this letter will understand that the author himself answers this question affirmatively , and hopes his readers will do likewise, at least acknowledging the reasonableness of such an affirmation, or at least considering such. His designs - see appendices A and B - want to contribute in a modest way to foresaid restoration.

In these designs the concept 'Shamir' plays a leading part.

As monogram:

He is the 'worm of radioactive creation', in the beginning protected by the Seagod and the Asmodeus demon. He assisted master builder Hiram Abiff who built the 'First Temple of the Lord' for King Solomon.
But, like I said before, on the theory behind the form of my designs and on the Shamir legends I will not elaborate in this letter - although the Shamir plays a main part on the 'physical dimension lessening' aspects of all temple building.
I am willing however to converse with you on this subject, but not through writing. This would include the fundamental issue of the physical presence of the 'Mosque of the Dome' on Moria, necessary or not.

To conclude this letter I herewith submit the testimony I announced before, on my experience in this matter.

1958 / 1959 Half a century ago

I am a student on the Academy of Arts in Rotterdam. The war between continents, not long ago ended still hangs in the streets of the city with no heart.* I can draw portraits easily. But can't cope with calligraphy: The ancient Mandarin in me is fed up with letters. The handwriting of my fellow students looks beautiful. Then I have a daydream: In barely 50 years I will draw a fabulous symbol, beside which flowers look pale - a symbol which arouses attention, evokes emotions, and, so to speak, emits radio activity: The Sun at Midnight, the Black Sun of the Jews. That dream has become reality today. MN. / HW. Sunday may 6th, 2007

*	The inner city of Rotterdam was bombed in WW II. The monument by the sculptor Zadkine was called 'city without a heart'.

Wailing Wall
(poem in retrospect)

The sign of life
just drawn
and at once, perfectly,
rising above my skill,
shows unexpected and not on purpose
the sharp letter
of which I dreamt as a student,
fifty years ago:

The Midnight Sun of the Jews,
the Shamir swastika, then misunderstood
and discovered today; revealed.
It slid off the table and landed
on a huge picture
of Israel's Wailing Wall.
A flat Temple appeared,
out of a long purgatory
under the moon.

On May 14th I sent my picture
to seven Jewish institutions,
by mail, before the last collection,
and May 15th 2007, this morning,
it must have been delivered.
Then I read in the Newspaper
that just today
the Wall which remains of Herod's Temple
is in Jewish hands once more, for forty years.

This I didn't know.
I am baffled.
The black letters
still in my possession
rustle and crackle,
by fire and lighting,
and become pure light.

Appendix A

More powerful versions of the Midnight Sun, in different varieties, based on the Shamir. Eleven designs.
The ninth design corresponds to the last verses in my handwritten letter. That design was the immediate cause to writing that letter. The first verse is again attached to the ninth design.

1.

2.

3.

4.

5.

6. The worm Shamir who builds the Temple

7.

8.

9. Shamir     The Jewish Sun at Midnight.

Half a century ago

We repeat our poem with this illustration, because
they belong to each other. (See the first illustration of Appendix A).

I am a student
on the Academy of Arts
in Rotterdam.
The war between continents,
not long ago ended
still hangs in the streets
of the city with no heart. *

I can draw portraits easily.
But can't cope with calligraphy:
The ancient Mandarin in me
is fed up with letters.
The handwriting of my
fellow students looks beautiful.

Then I have a daydream:
In barely 50 years
I will draw a fabulous symbol,
beside which flowers look pale -
a symbol which arouses attention,
evokes emotions, and, so to speak,
emits radio activity:

The Sun at Midnight,
the Black Sun of the Jews.
That dream
has become reality today.

MN. / HW. Sunday may 6th, 2007

*	The inner city of Rotterdam was bombed in WW II. The monument by the sculptor Zadkine was called 'city without a heart'.

10.

11.

Appendix B

Examples of a possible use of the designs of a Hebrew-Jewish Midnight Sun, in it's most powerful appearances:

Four illustrations of the Wailing Wall with such a sun. On the third illustration that sun is surrounded by wings. These are taken from the picture 'Die Gastfreundschaft Abrahams' (Abraham's hospitality) from the Leipzig Haggadah, 1740.

The wings are added because of the 'corner or angle' in the Wailing Wall. The Hebrew word for angle, konof,  , has a threefold meaning:

a) wing
b) (dimension)angle
c) to collect, to gather

1.

2.

3.

4.

Conclusion

This article with appendices has been sent to - as a letter:

•  Centraal Joods Overleg (CJO), Amsterdam
•  Nederlands-Israëlitisch Kerkgenootschap (NIK), Amsterdam
•  Federatie Nederlandse Zionisten (FNZ), Amstelveen
•  Centrum Informatie en Documentatie Israël (CIDI), Den Haag
•  Stichting Digitale Joodse Stad, Amsterdam
•  Israëlische Ambasade Nederland, Den Haag
•  Verbond van Liberaal-Religieuze Joden in Nederland (LJG), Amsterdam

Epilogue

Some directions as to how the Jewish Wailing Wall can function as a two-dimensional Temple (Mishkan). (Illustrations A / F).

Illustration A. speaks for itself, taken in account the previous article.

The illustrations B. and C. introduce on the Wailing Wall a Menorah, brought to attention by 'the Messiah of Tomorrow', who points to heaven and consoles an oppressed soul.

Illustration D. shows the in that Messiah risen imperishable man of the future, in the shape of the crucified androgynous figure. His crucifixion implies his birth (in the two dimensional temple).
The illustrations E and F show the Wailing Wall as temple to 'another world', as a 'passage'. Illustration E contains Shemoth (Exodus) 14 : 19,20,21.

SHEMOTH 14

19	And the angel of God, which went before the camp of Israel, removed and went behind them; and the pillar of the cloud went from before their face, and stood behind them.
20	and it came between the camp of the Egyptians and the camp of Israel; and it was a cloud and darkness to them, but it gave light by night to these: so that the one came not near the other all the night.
21	and Moses stretched out his hand over the sea; and the LORD caused the sea to go back by a strong east wind all that night, and made the sea dry land, and the waters were divided.

In the original Hebrew text each of these verses contains 72 letters. This text delivers, if verse 20 is written from left to right (instead of from right to left, like the verses 20 and 21), the 72 names of God, the so called Shem hamforesh, Gods 'full name'. One must read the text from top to bottom with the complementary terms 'jah' or 'el', as a kind of crossword pattern. The text is famous. Moses split the Red Sea with it, which can be seen as the sea of time, the sea of wisdom (the Jom Soeph).

Illustration F depicts illustration E in a more figurative way.

A.

B.

C.

D.

E.

F.