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Thread: Okkulte in ons kultuur ?

  1. #1

    Okkulte in ons kultuur ?

    Voortrekkers.jpg

    Wie van julle ken die gebou ? Is daar enige ooreenstemming met die gebou en 'n gebou wat in Suid Afrika staan ?

  2. #2
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    Pierre,

    Johan Gouws, skryf in sy boek, Nerija, bl 777-778 as volg oor die monument,

    Die ontwerper van die Voortrekkermonument, dr. Gerhard Moerdyk was, soos Piet Retief, 'n Vrymesselaar van die laer range..

    Die invloed van die Vrymesselary verklaar die geweldige hoeveelheid simboliek wat in die Voortrekkermonument ingeweef en vasgemessel kon word voor die oë van die Afrikaner en sy leiers. Die misleiding kon so maklik plaasvind as gevolg van die geestelike verdeeldheid van die Afrikaner en dié gees van die opkomende Afrikanernasionalisme! Die monument is voltooi in 1949 en amptelik op Geloftedag, 16 Desember 1949 ingewy.

    By hierdie geleentheid het dr. D.F. Malan plegtig verklaar: "Die uur is nou daar. Die sonnestraal uit die hemel val nou op die Senotaaf. Dit verlig daardie toewydingsgelofte wat nou en vir altyd diep ingegrif en onuitwisbaar op die hart van elke Afrikaner geskrywe moet staan: 'Ons vir jou Suid-Afrika!'" (Die Voortrekkermonument, Pretoria, Amptelike Gids, 7de druk, 1972:74).

    'n Sonnestraal uit die hemel. Simboliek ter ere van die songod?

    Die hele gebou is in sy binnestruktuur in die vorm van 'n koepel. "Bokant die Heldesaal is 'n koepel, met die groot ronde opening in die middel wat oortop word deur 'n tweede koepel, groot genoeg om die hele Monument te oordek. Die boonste koepel dui die omvang van die groot daad aan. As die lyne daarvan deurgetrek sou word, sou dit die hele Monument in een groot sirkel omvang. Die voorstelling is dié van die aardbol met Suid-Afrika heel bo" (G. Moerdyk, Amptelike Gids, bl 36).

    ... vervolg
    The Lord is our Shepherd
    die Here sal voorsien
    it’s the only method
    glo dit en jy sal sien

    The power of His glory
    is the punch line of this story,
    ek staan verwonderd en tog
    het U alles volmaak besorg


  3. #3
    Ferdi,
    Maar hierdie foto is nie van die voortrekker monument nie, dit is 'n foto van 'n monument wat in Leipzicht staan

  4. #4
    Ferdi,
    Maak hierdie vir jou sin ?
    Die Volkerschlacht is die grootste monument in Duitsland en is gelee aan die rand van Leipzig. Dit is gebou tussen 1897 en 1913 en is ontwerp deur die argitek Bruno Schmitz. Dit herdenk die slag van Leipzig op 16-19 Oktober 1813 waardeur Napoleon Bonaparte se mag in Europa aansienlik verminder is. Dit word beskou as die grootste veldslag in Europa voor die Eerste Wereld Oorlog, waarin sowat 500 000 troepe betrokke was. Lees meer hieroor by http://en.wikipedia.org/wiki/Battle_of_Leipzig. Die Voortrekker monument is ontwerp deur Gerhard Moerdijk. Bouwerk is begin in 1937 en die monument is in 1949 ingewy. Die Voortrekkermonument is slegs 'n elfde van die grootte van die Volkerschlacht.

  5. #5
    Ek sien niemand wil 'n opinie waag nie, Ferdi jy is reg met die voortrekker monument, ek sal later nog meer inligting daaroor plaas. Net vir interressantheid, dink jy die hoeveelheid ossewaens wat geplaas is by die voortrekkermonument is die regte getal ? Of is dit moontelik dat die getal aangepas is om 'n sekere doktrine te ondersteun ?

    Mbt die monument op die foto, net so 'n bietjie agtergrond:

    The structure is 91 metres tall, making it the tallest monument in Europe. It contains over 500 steps to a viewing platform at the top, from which there are spectacular views across the city and its environs. The structure makes extensive use of concrete, although the facings are of granite.

    Paid for entirely by donations and a lottery, independently of the state, it was completed in 1913 for the hundredth anniversary of the battle. Kaiser Wilhelm II was present, but only as a guest who did not speak.

    The monument is widely regarded as one of the best examples of Wilhelmine architecture, with several features comparable to sketches of the Temple of Solomon and the work of Freemasonry. It is said to stand on the spot of the bloodiest fighting, where Napoleon saw his army destroyed. The architect of the monument was Bruno Schmitz, and the carved figures, including the 5.5 metres (18 feet) high Totenwächter ("Guards of the Dead", or "Keepers of the Vigil of the Dead") are the work of sculptor Franz Metzner. The construction work took place over a period of 15 years under the direction of Clemens Thieme.

    In front of the monument there is an artificial rectangular lake intended to symbolise the blood and tears shed during the war against Napoleon. The so-called Régates de Baquet (a bathtub race) has taken place in this lake every year since 1991, an attempt to "unmonopolize" the so-called ideologies inherrent in such "overtly nationalistic structures".


    Varying ideographic representation: at left, a statue of the archangel Michael watches to protect against invaders. Within the dome, the feature is forlorn reliefs, reflecting the human cost of a war where the German lands again suffered as the staging ground (right).Some view its style as overbearing and pompous, and the statuary which dominates the entire structure is intended to evoke mythic images of Germanic heroism, of the sort propounded by Richard Wagner. If the monument has a nationalist tone, however, then it is in the sense that a nation should be united, rather than split into parts that are forced to fight each other, as Germans were obliged to in that battle.

    Hitler exploited the monument to the full, and chose it as a frequent venue for his speeches when in Leipzig.

    During the period of communist rule in East Germany, the government of the GDR was unsure whether it should allow the monument to stand, since it represented the staunch nationalism of the period of the German Empire. Eventually, it was decided that the monument should be allowed to remain, since it represented a battle in which Russian and German soldiers had fought together against a common enemy, and was therefore representative of "Russo-German Brotherhood-in-arms" (German: Deutsch-russische Waffenbrüderschaft).

    The monument is currently under restoration, with work scheduled to be finished by 2013, the year of the two-hundredth anniversary.

    The Monument of the Battle of Nations is located in the south-east of Leipzig and can be reached by tram lines 15 and 2 (stop: Völkerschlachtdenkmal).

  6. #6
    Mbt die ossewaens by die Voortrekker Monument :

    "Laer van 64 Ossewaens

    Volgens Prof PS de Jongh, Sarel Cilliers se biograaf, wat ongetwyfeld n gesaghebbende bron oor die onderwerp van Bloedrivier is was daar 57 Ossewaens in die laer by Bloedrivier. Dit word verder deur die outeur bevestig in sy weergawe,"Piet Retief en Bloedrivier", wat in Readers Digest se" Die geillustreerde geskiedenis van Suid Afrika;Die ware verhaal" gepubliseer is.Die amtelike standpunt is egter dat daar 64 ossewaens in die laer was tydens die slag van Bloedrivier.

    Hoekom is die geskiedenis doelbewus gewysig?Steve Worral, Claire gee n uiteensetting van hoekom die hoeveelheid waens van 57 na 64 verander is:" n ( Vrymesselaar )-Tempel is dikwels simbolies van die hoogste plek in die land. Hulle verteenwoordig die kosmiese struktuur en soms die godsdienstige verhouding tussen God en die mens...die tempel simboliseer die mens se terugkeer na die sentrum, sy oerself, die natuur en die baarmoeder van hergeboorte. Die area van die tempel word in 64 vierkante verdeel: die Mandala of kosmiese plan. Op sy beurt staan dit weer in verband met die tradisie van die Vrymesselaars waarvolgens die hemel en die aarde by die hekke of deure van die tempel ontmoet. Dit gebeur by die vier vernaamste punte, oftewel noord, suid, oos en wes".Soos n groot sonwiel of mandala is die hele terein n kosmiese sentrum vanwaar geestelike mag oor die lengte en breedte van Suid-Afrika uitstraal.

    Dieselfde beginsel word in die St Pietersplein in die Vatikaan gevind.Hierdie beginsel is ook gevolg met die vloerplan in die Heldesaal. Van bo af is die mandala duidelik sigbaar. Die aantal strale is 64. 32 is lig van kleur en 32 is donker. Hierdie verdeling korrespondeer met die verdeling wat in sommige Vrymesselaar Tempels gevolg is.Die groot vraag is nou watter god straal sy seen of vloek jaarliks uit vanaf die senotaaf wat verlig word en dan verder op n esoteriese manier na die res van die land uitgestraal deur die strale van die Heldesaal se vloer en die patroon wat voortgesit word deur die ossewaens."

  7. #7
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    Kan jy nou nie vir ons 'n beter fototjie kry nie, ek kan skaars daardie een raaksien

  8. #8
    Phil
    Ek sukkel jong, die pic is 68kb en die site laat slegs 64 kb toe vir die file tipe. Onthou ek is in BC gebore ( Before Computors )

  9. #9
    Hier kan ons 'n bietjie na van die mense se ander projekte kyk :

    The Soldiers' and Sailors' Monument is a 284-feet tall neoclassical oolitic limestone and bronze monument in the center of Indianapolis, Indiana (and Marion County, Indiana). It was erected to honor Hoosiers who were veterans of the American Revolution, territorial conflicts that partially led up to the War of 1812, the Mexican-American War, and the US Civil War. It was designed by German architect Bruno Schmitz, and was completed in 1901. In addition to its external commemorative statuary and fountains, the basement of the monument is a museum of Indiana history during the American Civil War.
    The monument lies within "Monument Circle". The circle did not always host a monument. Originally, it was designated Governor's square for the Governor's residence which stood in the center of the brick circle. The outside of the circle is today surrounded by small retail shops, including the South Bend Chocolate Factory, studios for several local radio stations, the Hilbert Circle Theatre (home of the Indianapolis Symphony Orchestra), financial institutions, one of the oldest social clubs of Indianapolis, and an historic Episcopal Cathedral. The circle is the standard symbol of the city of Indianapolis, and the city's flag is an iconic representation of Monument Circle and the two streets (Meridian and Market) that feed into and out of it. At one time, it was illegal to build any building taller than the monument within Indianapolis city limits, although there are now many skyscrapers exceeding its size.
    The poem America, Messiah of Nations was written for the dedication of the monument and was transformed into a march by John Philip Sousa. Both Riley and Sousa performed the poem and march at the dedication ceremonies.
    Though the fountains are not intended for swimming the city's children rushed into them as part of celebrations for VE day. The anouncement of Victory in Europe brought hundreds to the circle and many dove into the fountains.
    Several public events are scheduled at or near the monument, and it is decorated by the city every Christmas season, with the monument becoming adorned as a gigantic Christmas tree. This city tradition is known as the Circle of Lights. It also is used as a venue for an annual outdoor art display with an Indianapolis 500 theme. During June it plays host to the Chrysler Concourse Grand Prix, a mainstay of the formula one celebrations in Indianapolis.
    One year after the 1882 Transit of Venus, Sousa was commissioned to compose a processional for the unveiling of a bronze statue of American physicist Joseph Henry, who had died in 1878. Henry, who had developed the first electric motor, was also the first secretary of the Smithsonian Institution in Washington, D.C.
    A Freemason, Sousa was fascinated by what the group considered mystical qualities in otherwise natural phenomena. According to Sten Odenwald of the NASA IMAGE Science Center[1], this played a significant role in the selection of the time and date of the performance, April 19, 1883, at 4:00 P.M. Dr. Odenwald points out that Venus and Mars, invisible to the participants, were setting in the west. At the same time, the moon, Uranus, and Virgo were rising in the east, Saturn had crossed the meridian, and Jupiter was directly overhead. According to Masonic lore, Venus was associated with the element copper, and Joseph Henry had used large quantities of copper to build his electric motors.
    The "Transit of Venus March" never caught on during Sousa's lifetime. It went unplayed for more than 100 years, after Sousa's copies of the music were destroyed in a flood. As reported in The Washington Post, Library of Congress employee Loras Schissel recently found copies of the old sheet music for "Venus" "languishing in the library's files."[2] The piece was resurrected recently, in time for the 2004 Transit.
    Sousa also composed a march, "Nobles of the Mystic Shrine", dedicated to the high-degree freemasonry Ancient Arabic Order of the Nobles of the Mystic Shrine.

  10. #10
    Ek het op hierdie inligting afgekom, het iemand dalk 'n opinie daaroor ? Ek is nie 'n vrymesselaar nie en kan dus nie opinies lig op 'n gebied waar ek 'n leek op is nie. Al wat my egter nog altyd gepla het van die konsep is ; ek dink dit is 1 Joh 1 wat sê: Dit wat in die duisternis is, is van die duisternis, dit wat van die lig is, is van die lig. (eie bewoording gebruik).
    Ek het dus maar altyd skepties gestaan teenoor organisasies wat in "geheimhouding"opereer, wanneer dit nie in belang is van kom ons sê staatsveiligheid is nie.
    Maar weereens ek is 'n leek op die gebied, en sal graag wil hoor wat sê ouens wat pros is op die gebied:
    Why Was The Mason
    Who Revealed These
    Masonic Secrets
    Murdered ?
    "I do most solemnly and sincerely promise and swear...
    • TO HAVE MY THROAT CUT ACROSS...
    • MY TONGUE TORN OUT BY THE ROOTS...
    • AND MY BODY BURIED IN THE ROUGH SANDS OF THE SEA AT LOW WATER MARK, WHERE THE TIDE EBBS AND FLOWS IN TWENTY-FOUR HOURS...
    ...should I ever knowingly or willingly violate this my solemn oath or obligation as an Entered Apprentice Mason. So help me God."
    The above is an excerpt of the oath sworn by Masons to never reveal any of the Masonic secrets. Perhaps this is why our source for the information in this book was murdered after his notes were published

    Excerpted from CEREMONIES OF THE ADMISSION AND INITIATION OF A CANDIDATE IN THE FIRST DEGREE OF FREEMASONRY.
    The candidate, during the time, is divested of all his apparel (shirt excepted), and furnished with a pair of drawers, kept in the Lodge for the use of candidates; he is then blindfolded, his left foot bare, his
    right in a slipper, his left breast and arm naked, and a rope, called a cable-tow, 'round his neck and left arm (the rope is not put 'round the arm in all Lodges) in which posture the candidate is conducted to the door, where he is caused to give, or the conductor gives, three distinct knocks, which are answered by three from within; the conductor gives one more, which is also answered by one from within.
    The door is then partly opened, and the Junior Deacon generally asks, "Who comes there? Who comes there? Who comes there?"
    The conductor alias the Senior Deacon, answers, "A poor, blind candidate, who has long been desirous of having and receiving a part of the rights and benefits of this worshipful Lodge, dedicated to God, and held forth to the holy order of St. John, as all true fellows and brothers have done, who have gone this way before him."
    The Junior Deacon then asks, "Is it of his own free will and accord he makes this request? Is he duly and truly prepared? Worthy and well qualified? And properly avouched for?"
    All of which being answered in the affirmative, the Junior Deacon says to the Senior Deacon,"By what further right does he expect to obtain this benefit?"
    The Senior Deacon replies,"By being a man, free born, of lawful age, and under the tongue of good report."
    The Junior Deacon then says, "Since this is the case you will wait till the Worshipful Master in the East is made acquainted with his request, and his answer returned."
    The Junior Deacon repairs to the Master, when the same questions are asked, and answers returned as at the door; after which the Master says, "Since he comes endowed with all these necessary qualifications, let him enter this worshipful Lodge in the name of the Lord, and
    take heed on what he enters."
    The candidate then enters, the Junior Deacon at the same
    time pressing his naked left breast with the point of the compass, and asks the candidate,"Did you feel anything?"
    "I did."
    Junior Deacon to the candidate, "What was it?"
    "A torture."
    The Junior Deacon then says, "As this is a torture to your flesh, so
    may it ever be to your mind and conscience, if ever you should attempt to reveal the secrets of Masonry unlawfully."
    The candidate is then conducted to the centre of the Lodge, where he and the Senior Deacon kneel, and the Deacon says the following prayer...
    You have also seen the planet Mercury, the chamber called "Gabaon," or the"Third Heaven;" the "winding staircase," the "Ark of Alliance," the "tomb of Hiram Abiff," facing the ark and the urn—
    the precious treasure found by the assiduous travels—
    the three zealous brethren Masons—
    the punishment of the haughty Master Mason, in being buried under the ancient ruins of Enoch's temple—
    and finally, you have seen the figures of Solomon, and Hiram, King of Tyre, and St. John the Baptist.
    The Grand Master or Thrice Puissant, is named "Father Adam," who is placed in the East, vested in a robe of pale yellow, like the morning. He has his hat on, and in his right hand a scepter, on the top of which is a globe of gold...
    The reason that Father Adam carries the globe above the scepter in this Council is, because he was constituted Sovereign Master of the world, and created Sovereign Father of all men

  11. #11
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    Quote Originally Posted by Pierre van Zyl
    Die Voortrekkermonument is slegs 'n elfde van die grootte van die Volkerschlacht.
    Pierre,

    Hmmm... interessant... 11 keer groter! As dit in Amerika was, was dit seker 50 keer groter.

    Ek sien Johan Gouws verwys na 'n soortegelyke gebou, die praalgraf of die Mausoleum van Halicarnassus, 'n momument wat in Klein-Asië vir koning Mausolus opgerig is en daardie monument het o.a. 'n voorganger geword vir ons eie monument, aldus Gerhard Moerdyk self.

    Hy (Johan Gouws, Nerija) skryf vêrder vanaf bladsy 778,

    Daar is onmiskenbare ooreenkomste te vinde in die koepel-simboliek en heidense gebruike ten opsigte van die aanbidding van die hemelruim en voorwerpe daarvan. 'n Ongedateerde en naamlose studiestuk wat skrywer tydens sy navorsing in hierdie verband bereik het, word hier weergegee: "Domus word normaalweg aanvaar om 'huis' te beteken. Ons vind egter dat Franse woordeboeke en Franse gesaghebbendes 'n bykans vergete feit beklemtoon, naamlik, dat in 'n religiuese sin, domus (dome in Frans) by uitstek die betekenis van die hemelruim of lugruim het - die dom (koepel) van die hemelruim. Daarom lees ons dan ook dat baie tempels, grafte en ander geboue, in talle lande, die kosmiese koepel (dome) as hoofkenmerk het. Chevalier & Gheerbrandt, Dictionaire of Synboles, onder 'Dome', sê: 'Dit is duidelik dat die dom allerweë die koepel van die hemel verteenwoordig.' G. Jobes, Dictionary of Mythology Folklore and Symbols, sê dat 'Dom' (dome) die hemel of glansende son simboliseer. Die Moslems het dit taamlik algemeen gebruik, bv. die Dom van die Rots (die Rotskoepel) in Jerusalem. Die Boeddhisme lê baie klem daarop, asook die ou Persiese religie en ons onthou watter groot invloed hierdie twee religieë op die Manicheaanse sekte gehad het, wat op sy beurt weer 'n groot invloed op die leerstellings van die kerk uitgeoefen het. Gewoonlik vind ons 'n sentrale opening in die dom, wat dan simbolies van die Son is, wat in wese die oog van die hemel is, die uitgang of opvaart vanuit hierdie wêreld, die ontvlugting of ontkoming, in die ewige saligheid in. Volgens Chevalier &Gheerbrant was hierdie sentrale opening in die dom beskou as die 'Hemelvaart (Opvaring) in navolging van Agni'. Ons moet onthou dat Agni die Songod was, die god van vuur (letterlik sowel as figuurlik), wat ook bekend was as Demunas, die oorsprong van die naam Dominus!
    Omdat daar by my twyfel bestaan oor veral die woorde op die Senotaaf, hou ek graag hierdie inligting voor soos Johan Gouws dit weergee. Ek weet nie hoe akkuraat dit is nie, maar miskien kan mens iets hieruit leer en sal ek later graag nog uit Johan Gouws se boek, Nerija, wil aanhaal oor hierdie onderwerp.
    The Lord is our Shepherd
    die Here sal voorsien
    it’s the only method
    glo dit en jy sal sien

    The power of His glory
    is the punch line of this story,
    ek staan verwonderd en tog
    het U alles volmaak besorg


  12. #12
    Ferdi,
    Dit laat 'n ou wonder oor ons monumente nê ?
    Ek wil nog 'n foto laai, as ek dit klaar op my portefeulje gelaai het, hoe onttrek ek dit nou weer ?

  13. #13
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    Pierre,

    Hier is die Mausoleum van Halicarnassus





    Hoe meen jy, jy wil nog 'n foto laai? As ek jou reg verstaan is jy bang jou toegekende spasie raak op?
    The Lord is our Shepherd
    die Here sal voorsien
    it’s the only method
    glo dit en jy sal sien

    The power of His glory
    is the punch line of this story,
    ek staan verwonderd en tog
    het U alles volmaak besorg


  14. #14
    Ek het die foto klaar gelaai as "Attachment" waneer ek op "insert image" kliek vra hy 'n url adres, hoe onttrek ek weer die foto ?

  15. #15
    Join Date
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    Location
    Little Jerusalem, S-Africa
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    Wil jy eerder die foto "insert" en die "attactment" verwyder, is dit wat jy meen?
    The Lord is our Shepherd
    die Here sal voorsien
    it’s the only method
    glo dit en jy sal sien

    The power of His glory
    is the punch line of this story,
    ek staan verwonderd en tog
    het U alles volmaak besorg


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