LEVITATION EXPERIENCES - Temple of Peace
In ancient Israel, the Old Testament book of First Kings 6:7, records that in the building of Solomon's Temple, 'Only blocks of undressed stone from the quarry were used; no hammer or ax or any iron tool whatsoever was heard in the house while it was being built.' This feat was accomplished, the Talmudic traditions recount, with the use of a stone called the Shamir , which caused the stones to be separated and shaped by vibration, and levitated into place with sound.
In nearby Chaldea, the ancient Magi were said to generate a similar force called in the Aramaic rukha shakintu, by using rods of gold with special energizing powers. Of interest in this respect is the Chaldean work, the Sifr'ala, which dates back more than 5000 years, and through fragmentary, it is a lengthy work filling almost one hundred pages of English translation.
Archeologist and ethnologist Y. N. Ibn A'haraon, who worked on its decipherment, found that the Sifr'ala is a detailed account of how to build a flying craft called a marvid, as well as operate it. The text speaks of three spheres which vibrated on the underside; a copper coil was wound around the main sphere, attached to an insulated steering wheel, while graphite rods touching the two rear spheres activated forward levitation.
A turn in the steering wheel changed the number of coil turns around the main sphere, as well as the degree of contact between the rods and the other spheres, allowing for controlled take-off and directed destination, which was recorded for the pilot on a crystal. The texts also comment on wind resistance, gliding and stability. Unfortunately, many key lines of the text are missing, making any attempt at reconstructing the craft impossible.
Farther to the east, in India, researcher Andrew Thomas reported that levitation is still performed to this day using chanting. In the village of Shivapur, near Poona (!?), is a little mosque dedicated to the Sufi holy man Qamar Ali Dervish (whirling). Outside in the courtyard of the mosque is a stone weighing 138 pounds, and during daily prayer, eleven devotees surround the stone, repeating the holy man's name. When they read a certain pitch, the 11 men are able to lift the stone by using one finger each. As soon as the chanting stops, the devotees jump back, for the stone resumes its weight and falls to the ground with a heavy thud.
As Thomas noted: "The key seems to be in the chanting, and 11 voices must be the required formula to achieve the correct pitch that makes the boulder's vibrations change and renders it seemingly weightless or at least lighter. The name of the saint is probably unimportant; the frequency is the key factor. It is a similar principle to the one whereby a trained singer can strike and hold a note that matches a wine glass and shatters it."
A second fascinating eyewitness account of modern levitation, this one from Tibet, was reported by a Swedish aircraft industrialist Henry Kjellson, who traveled through the Himalayas in the postwar era. Kjellson described how Tibetan monks hauled stones measuring 1.5 meters square by yak up to a plateau and placed them in a specifically designed hole, bowl-shaped at 1 m. in diameter and 15 cm. deep in the center. The hole was situated 100 m. from a cliff wall, 400 m high, on top of which was a building to be constructed.
Behind the hole, by 63m., stood 19 musicians, and behind each of them 20 priests radiating out in lines, separated from one another in groups at five degree intervals, forming a quarter circle with the hole as its focal center. These distances appear to have been of utmost importance, for all were carefully measured by the monks using lengths of knotted leather.
The musicians possessed a total of thirteen drums of three different sizes, and alternating between them were six large trumpets. The drums weighed up to 150 kilos each and were barrel-shaped, suspended from a wooden frame in a horizontal position, pointed toward the hole. The trumpets were long and metal, of specific length, also directed toward the hole, and it took two monks taking turns to blow one instrument.
On command, the drums and trumpets were sounded, and the priests chanted in unison, together forming sharp blasts of sound at a beat of two per minute. After four minutes' time, Kjellson observed that the stones placed in the target hole began to wobble, move side to side, and then as the beats of sound increased, they suddenly soared the 400 m. in a parabolic arc to the top of the cliff. In this manner, Kjellson recorded that the monks were able to move five or six blocks an hour.
According to Chinese records, the Emperor Hwang-ti and 70 of his subjects made flights through the air by means of energies of a 'celestial dragon'. The instrument they used to attract the 'dragon' was a tripod made of copper cast in a peculiar way, set up upon a mountain top where 'dragon currents' in the Earth met favorably. The tripod, it was said, was attuned to the specific harmonic of the movements of the planet Venus.
In his poem entitled Li Sao, the poet Chu Yuan (340-278 B.C.) told of traveling in a 'chariot of jade' that flow through the air by the power of 'four dragons,' and by its means accurately observed the Chinese landscape from a great height, including the fact that at a high altitude his craft was unaffected by storms near the surface.
Author Andrew Thomas, commenting on the Chu Yuan text, said: "The flying machines of ancient china were either the product of scientific experimentation of the time, or were a memory from a pre-cataclysmic race. As the Chinese had no comparable advanced technology at the time, there is no other alternative but to accept the second possibility."
The Toradja people of the mountains of Celebes island in Indonesia recount that they were once ruled by benevolent kings who once came to them on ships which 'followed the line of the rainbow's arc across the sky, powered by the lightning's fork.' The Toradja, in memory of these past events, still construct their homes or sagos, in the shape of prehistoric airships, in great crescent arcs, with bows pointing upward, painted with spiral designs representing the energy and vibration once powering the craft.
Today, the natives are replacing their old building materials of woven bamboo and rattan with corrugated iron sheets, with the result that their homes now look even more curious, like giant grounded spacecraft from some bygone era.
Legends very similar to those of those of the Toradja are found among the Polynesians of the South Pacific islands. On Ponape, the native tell of learned men of lighter skin than their own who came from the west, in an age long before the European explores arrived. These former light-skinned men came in 'shining boats' that 'flew above the sea.' Their stay was very brief, but the natives still speak of the 'magical works' the ancient westerners performed.
In similar terms, the native inhabitants of the Mangareva islands have a tradition of flight which dates back from an unknown period of the distant past. They recount how a 'flying canoe' with 'great wings clasped tightly to the side' appeared before th em, and by magical means the 'priests' who operated it were able to fly great distances, as far as the Hawaiian Islands in one instance, nearly 25,000 miles away.
Robert Lee Eskridge, a collector of Polynesian folklore, found a native on the Mangarevan island of Tara-Vai, who gave him a detailed description of the ancient flying canoe, and showed him a small model. It has wings similar in design to an Australian boomerang, and reminded Eskridge most of the winged solar disc, pictured in ancient Egypt art.
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