Symbolism and mythology

In search of information to confirm what is written in the books by Anastasia Novykh, in particular the AllatRa book, I spent some time on the symbol of the Universe – the serpent biting or eating its own tail. The relevant part of the book is certainly rather difficult to understand without appropriate spiritual development and one’s personal experience, for it tells (no less than) about the structure of the Universe and the system of 72 dimensions that form it. Residing in the third dimension, it is surely quite hard to perform analysis on the subject, so let us start with a little point – the symbol itself. Below I will present a quote and a number of images, which all indicate that the symbol of the serpent eating its tail is rather well-known.

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Let me start the article with a remarkable documentary about the wonderful people, undeservedly struck out of history, slandered and calumniated. They left, but promised to return. When? Perhaps, in the much-talked-of Golden Millennium? ...

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The cosmic or World Mountain as axis mundi is mentioned in world mythology just as frequently as the World Tree. As a rule, these two images peacefully coexist, not excluding, but rather being superimposed on each other. The World Tree stretching to the heaven is often placed on top of a giant mountain in the middle of the universe. Both concepts serve as embodiments of the sacred axis in the world structure.

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Like the wind plays with leafage, feelings flow from leaf to leaf, from branch to branch – burning like fire, shining and sounding as an inexpressible heartfelt song, the Song of God! Plunging deeper and deeper into the boundless well of feelings! Guards of the Animal Nature are on the alert, endeavouring to steal HUMAN attention, but if you are consistent and have made your choice, you will certainly be rewarded with DIVINE HAPPINESS signifying LIFE.

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In different times, same ornament elements were perceived and used in different ways, depending on people’s beliefs and views of the surrounding reality. Ornaments were attached a special interpretation, visual solution and style to. For instance, in ancient heathen beliefs a rose (rosette) was the flower of goddess Venus – the symbol of love and beauty; in the Middle Ages it symbolized the flower of the Mother of God, and in Islam it is the symbol of heavenly life and cosmic power: “rose blazes as the gift of the sun, while its petals are small moons”. Ancient decorative elements have been preserved in traditional arts of the peoples of Africa, Australia and Oceania, in ornaments of South American Indians. Their ornaments and decorative motifs include both real and geometric, conventionally stylized shapes.

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‘Underlying all Egyptian speculation’, as R. T. Rundle Clark has observed, ‘is the belief that time is composed of recurrent cycles which are divinely appointed ...’ There is furthermore a governing moment amongst all these cycles and epochs – the ‘genesis event’ that the Egyptians called Zep Tepi, the ‘First Time’. (Graham Hancock, Robert Bauval. THE MESSAGE OF THE SPHINX, or KEEPER OF GENESIS)

‘Many believe the Pyramid Age is the time when Giza pyramids were created, the time of a single special dynasty or group of pharaohs. However, the plan was much more grandiose and was not limited to the Fourth Dynasty’s creations. There are plenty of evidence leading to conclusion that there was a single great plan ‘to freeze the time’ in stone or in other words to make stones ‘tell’ about the ‘First Time’.’ (Robert Bauval. The Orion Mystery: Unlocking the Secrets of the Pyramids)

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While re-reading the article Keeper of Genesis. Part II. EdfuBuilding Texts. The wisdom god Thoth, I was carried away by the photographs of majestic Egyptian temples and once again noticed the abundance of hieroglyphs covering the temple walls. A question came to my mind, which had arisen several times before, though I had never got to profound clarification of the issue. What do those beautiful signs mean, and have scientists managed to decipher and understand what the wise ancient people endeavoured to communicate to their descendants? Then, owing to a hint given in the commentary section, I learned about a wonderful man whom we should thank for letting us know so much about the Egyptian mythology and rituals, as well as about Ancient Egypt in general. That man was Jean-François Champollion, a French scholar, philologist and orientalist, and a founding figure in the field of Egyptology. In this article we will exactly talk about this remarkable person, about his life devoted to the quest of Truth and his selfless labour for the benefit of humanity, which could be a good example for all of us.

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Our consciousness is arranged very interestingly. Say, you read a piece of information, see presented evidence with your own eyes, and believe in everything you read, not having even a slightest doubt. Yet, who believes? Obviously, not consciousness.

At the beginning of this year, I happened to stay a couple months in the US state of Arizona. Those who know at least a little bit of geography are aware of the fact that this state is famous for the Grand Canyon National Park, which is considered to be one of the natural wonders of the world. Moreover, in the state there is the largest reservation of Navajo and other Indian tribes. Halfway to the Grand Canyon there is a town of Sedona that looks like a mini Grand Canyon and is, so to say, a preparation for a traveller to see the entire might, grandeur and incredible beauty of the canyon itself. 

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Recently my friends and I, inspired by the knowledge given in the AllatRa book, decided to go on a museum tour across our region in order to receive evidence that the signs and symbols indicated in ALLATRA and other books by Anastasia Novykh are indeed present all over the world.

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We are going on with publication of the Permian Animal Style artefacts, having sorted them by categories we are interested in and having added corresponding explanations to shed light upon the mystery of strange motifs in shaman images, Chud amulets and bronze cult casts. Let me remind of the links to the previous articles of the series:

In the final material dedicated to the Permian Animal Style I will first spilt the image collection into three sections: Three-Faced Beings, Birdman, and Hands on the Belly, then I’ll add several images of “sacred bugs”, and in the end there will be a brief comparative analysis based on photos of artefacts from other ancient cultures, published on our website earlier.

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Continuing the first article entitled The secret of the Permian Animal Style has been uncovered. Part I: The lateral animal Aspects, and considering archaeological exhibits kept in private collections and history museums and dating back to the ancient mysterious Perm culture, I would like to draw readers’ attention to the motif that we are already familiar with, i.e. the “standing on the beast” or “trampling on the beast” motif, which according to the Primordial Knowledge is interpreted as a person’s victory over his or her animal nature. This is new incontrovertible evidence that spiritually advanced people once lived in that region. Official history is unwilling to tell, or rather passes over in silence, when those people lived and what became of them.

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The Permian Animal Style includes shaman images, Chud amulets and cult casts – bronze artworks of the 7th century BC – 12th century AD, discovered in the forest and tundra area of Northeast Europe and West Siberia, from the Kama-Vyatka river basin to the Yenisei-Ob watershed. The found animal-style items created by the ancients are now kept in numerous private collections, antique shops, art galleries, and state history museums including the HermitageMuseum in St. Petersburg.

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Consciousness and Personality.
From the inevitably dead
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Interesting headings