Pred is the zatomis of the Dravidian metaculture, which is a provisional designation, as it comprised peoples of various ethnic roots, including some closely related to the Sumerians. The cities of Mohenjo-Daro and Harappa belong to the later stages of the metaculture. Its collapse (at the beginning of the second millennium B.C.) resulted from factors both internal (I have no idea of their nature) and external (the invasion of the Aryans).
I did not see clearly the emblem of Pred. But I did see a pink pagoda.
Asgard, which is sometimes incorrectly referred to by the more popular name Valhalla, is the zatomis of the ancient Germanic metaculture, which was crippled by the spread of historical Christianity. Disaster overtook it in the twelfth century A.D.
Its emblem is a golden hall in the clouds.
Tokka is the zatomis of the ancient Peruvian (pre-Inca) metaculture, which developed historically in the centuries immediately prior to and after the birth of Christ. There is, perhaps, no reason to bewail the collapse of the culture in Enrof, for the influence of the demonic was very strong in it (That culture was supposed to have greatly advanced the task of enlightening the animal world, but historically it came to deify it and degenerate into widespread cannibalism).
Its emblem depicts the stone statue of a seated puma.
Bon is the zatomis of the ancient Tibetan metaculture, which was destroyed by Buddhism, but elements of it were assimilated by the Mahayana culture.
The Bon emblem depicts red and blue bolts of lightning crisscrossing above the orange tent of a king. The blue lightning represents Buddhism and its spirituality; the red represents the pre-Buddhist Tibetan religion, which was tainted to a very great extent by demonism. The tent represents royalty, which fell as a result of the meeting of those two powers.
Gauripur is the zatomis of the small Himalayan metaculture, which separated from India too soon, yet had immense poten
tial. It was there that the brightest centers of Buddhism were at one time kindled. There, in the context of the teaching, those metahistorical processes took place that fashioned it into a religion in the full sense of the word-that is, a teaching that was not only moral but transphysical and spiritual as well. The moral aspect of Buddhism was raised in the Himalayas to a height known only in the purest forms of Christianity.
The Himalayan metaculture collapsed under the two-pronged onslaught of state demons: the Turkic Witzraors from the north and west, and the Witzraors of the Great Mogul Empire from the south. At present the metaculture is dying out in Nepal.
Its emblem is a crowned mountain peak beneath the constellation Orion.
Yunkif is the zatomis of the Mongolian metaculture, which immediately fell prey to an unusually powerful Witzraor. Disaster overtook it in the thirteenth century.
Yunkif s emblem is a rolling line of hills, with two flocks, white and red, battling above them.
Yiru is the zatomis of the ancient Australian metaculture, which for two thousand years existed in central Australia in total isolation from the rest of humanity. Their society reached the level of a slave state. The metaculture collapsed as the result of the extremely active role played by demonic elementals-the spirits of deserts and impenetrable thickets. For many centuries two religions-«right hand» and "left hand," polytheistic and demonic- were locked in struggle within the culture. The latter offered human sacrifices to those same malevolent elementals that were engaged in destroying the metaculture. Toward the end, it was that religion that prevailed, and resistance to the encroachment of the desert and thickets was proclaimed taboo. The culture in Enrof died out from internal dessication. The most refined of their arts was painting. It was to a certain extent reminiscent of Cretan painting but was more distinctive and imaginative. The ruins to be unearthed will not be extensive enough to permit a picture of the civilization to be reconstructed.
Its emblem is a cloud above a volcano, representing the suprapeople and its Synclite.
Taltnom is the zatomis of the Tolteko-Aztec metaculture. Its emblem is the face of a hero crowned by the sun.
Kertu is the zatomis of the Yucatan (Mayan) metaculture. Its emblem depicts a blue serpent twined around a golden tree. Not every people has regarded the serpent as a dark symbol. The golden tree represents the spiritual (transphysical) world. The blue serpent symbolizes the suprapeople, who through spirallike growth rise into the spirit.
Intil is the zatomis of the Incan metaculture, whose collapse in Enrof, strange as it may seem, saved the world from great peril. (This will be discussed in another part of the book.) Its emblem is a red-clad figure, wearing a miter, with arms uplifted to the sun. Red here symbolizes majesty, and the miter, the high priesthood.
Daffam is the zatomis of the metaculture of the Great Lakes Indians. (That culture was specially charged with combating Voglea, the female lunar demon. That accounts for the suprapeople's exceptional chasteness and their rejection of urban-based civilization.)
Its emblem is a group of warriors pointing their spears at the crescent of a waning moon.
Lea is the zatomis of the Polynesian metaculture, which was doomed by its extreme geographical dispersion. Embers of that metaculture are still smouldering on Hawaii, Tahiti, and other archipelagoes. Its emblem is a golden mountain on an island in a blue sea.
Nikisaka is the zatomis of the Japanese metaculture, which was seriously wounded twice-by Buddhism and by Europeanism- and thus has not been able to realize its full potential. Shinto is in essence the veneration of Nikisaka as the Japanese Synclite. The goddess Amaterasu, properly understood, is none other than the Navna of Japan. The transfer of Nikisaka to the sakwala of developmentally arrested metacultures in Enrof is now taking place. The Rose of the World will be able to provide real assistance in revitalizing the zatomis: it is still entirely possible for the process to be reversed.
Its emblem is a blossoming cherry tree beside a pond.
3.3. The Middle Planes of Shadanakar
Before attempting to draw a general picture of the demonic sakwalas, which play such a colossal role in the transphysics and metahistory of Shadanakar, as well as the sakwalas of elementals, some of which are closely bound with the demonic, I consider it advisable to give the reader some notion of certain sakwalas of ascent that succeed, as it were, the zatomis sakwalas. These sakwalas are extremely diverse, but together they comprise the middle planes of Shadanakar.
It is only natural that the higher the planes, the more difficult it becomes to apprehend them, and the fewer analogies with Enrof can be found in their landscapes, in the form and appearance of the beings abiding there, and in the manner of life they lead. Nine-tenths of what is seen or otherwise perceived remains beyond our comprehension. In the majority of cases, one has no choice but to confine oneself to a straightforward presentation of the essential facts, without attempting to reveal their consistency or deeper meaning. Therefore, this chapter promises to be virtually nothing more than the dry enumeration of the names of a few sakwalas and the planes they comprise.
I seem to recall, for example, that withinJewish mysticism can be found the concept of the egregor; however, it is difficult for me to judge how closely the term corresponds to the meaning given to it here, if only because of my less than superficial knowledge of Jewish theosophy. In any case, what is meant here by egregors are variomaterial formations that take shape over large collectives from certain emanations of the human psyche. Egregors do not have monads, but they possess a volitional charge of limited duration and the equivalent of consciousness. Every state, even
Luxembourg, has its own egregor. They are essentially static, passive beings. The majority of egregors do not take part in the struggle between the demonic and Providential forces in Shadanakar. There are some, however, that side with the demonic camp.