Volume I
The Mystery of Inspired Sources and Their Significance to Man
Chapter 1
Inspired Sources and Their Unusual Symbolism
----Inspired Sources and Their Unusual
Symbolism (Post 3. CVIC1S1)
----The Discovery of the Chauvet Cave (Post 4. CVIC1S2)
----The Chauvet Cave and Transfer Activity by the People of the Aurignacian Culture Between 35,000 B.C. and 30,001 B.C. (Post 5. CVIC1S3)
----The Discovery of the Lascaux Cave (Post 6. CVIC1S4)
----The Lascaux Cave and Transfer Activity by the People of the Magdalenian Culture Between 15,000 B.C. and 14,501 B.C. (Post 7. CVIC1S5)
----The Chauvet Cave and the Lascaux Cave: Should They Be Considered Sacred Places (Post 8. CVIC1S6)
In the last decade of the twentieth century A.D., a discovery was made of a body of knowledge, which, it is believed, has important implications for the future of man. In 1996, it was discovered that many cultural artifacts produced by man since about 30,000 B.C. possess an unusual symbolism. This symbolism, as we shall see, has a mathematical component associated with it that finds expression in the form of alignments and points of alignments. Because of this, the interpretation of this symbolism is not entirely subjective, but has an objective aspect to it, as well. In The Creation: Its Infinite Features and Finite Realms, artifacts of man that possess this unusual symbolism are referred to as inspired sources. They are called “inspired” because the symbolism present in these artifacts is believed to be inspired by the Creator, and they are called “sources” because they are sources of knowledge-knowledge that is conveyed to one by the symbolism of inspired sources.
The artifacts of man that possess this symbolism include both crafted artifacts and photographic images of these. They include paintings, illustrations, sculptures, architecture, and other objects that possess pictorial and decorative features. However, they also include artifacts, which lack decorative features, and are purely functional in design. In addition, some writings of man can be considered inspired sources, as well. The symbolism of these writings often involves the use of metaphor and allegory as the means of expressing this symbolism. We shall study some of these writings in Volume III of The Creation. However, most inspired sources are pictorial, and involve visual symbolism rather than literary symbolism. Some of these inspired artifacts may be highly esteemed by man, while others may not be. An example of the former may be a painting by the seventeenth century Dutch master, Jan Vermeer. An example of the latter may be an illustration that appears on a paper tray mat of a fast food restaurant. However, if an illustration that appears on a paper tray mat is an inspired source, it possesses symbolism that is capable of conveying knowledge, just the same as is a famous painting that is an inspired source.
As we shall see in Chapter 6, photographs are capable of being inspired sources, also. These include photographs that are photographs of inspired sources, such as inspired paintings, illustrations, and other inspired photographs, as well as photographs that are not. The former are referred to in The Creation as inspired illustrative photographs and the latter as inspired non illustrative photographs. In both cases, these photographs are inspired sources that possess all the features of typical inspired sources, including alignments and points of alignments. Photographs comprise the majority of inspired sources that are being produced by man at the present time. Since 1996, when the existence of inspired sources was first revealed to man, tens of thousands of inspired photographs of both kinds have appeared in countless books, magazines, newspapers, and other printed materials. Some of these inspired photographs were produced in the nineteenth century A.D., when photography was still in its infancy. But most are of a more recent origin.
Inspired photographs may comprise the majority of the inspired artifacts of man that are considered to be inspired sources at the present time. However, photography is a rather recent development in man’s history. Before the discovery of photography, other kinds of cultural artifacts were imbued with inspired symbolism by the Creator. Some of these, like the cave paintings of the Lascaux cave, are thousands of years old. Others, like the paintings of Jan Vermeer, are hundreds of years old. And still others, like the illustrations of Norman Rockwell, are scores of years old. However, despite the fact that tens of thousands of artifacts have been produced by man and inspired by the Creator over the course of time, the existence of these was not revealed to man until the late twentieth century A.D. The Creator, apparently, not only inspired the inspired sources, but also chose the time when their existence would be made known to man.
A study of the symbolism of inspired sources, regardless of when and where they were produced, always leads to the same conclusion: an intelligent, spiritual being with supernatural attributes must have been responsible for the symbolism that is present in inspired sources. In The Creation, this spiritual being is believed to be the supreme, spiritual being of the creation, whom some call God, and in The Creation is referred to as the Creator. The Creator is also considered to be the Triune Godhead of Christianity, that is, the Father, the Son (the Word), and the Holy Spirit (Mt. 28:19). These three aspects of deity are also referred to in The Creation as the first person, the second person, and the third person of the Triune Godhead, respectively. Because the Creator, in essence, is one, but, in personality, is three; the term, Creator, can be applied to any one of the three persons of the Triune Godhead. Apparently, the Creator, in the person of the Father, working through the person of the Son (the Word), and by the person of the Holy Spirit, has caused thousands of artifacts produced by man over the last thirty-two thousand years to become inspired sources.
In Christianity, the Triune Godhead is also sometimes referred to as the Trinity. The Trinity is a Church doctrine that addresses the nature of the relationship between the three persons of the Triune Godhead, which had been intuitively comprehended by the Apostle Paul and the early Church. Although man may not completely understand the doctrine of the Trinity or the Triune Godhead, when it comes to understanding how the Creator causes artifacts of man to become inspired sources, this is not something that is beyond the comprehension of man, and will be addressed in Chapter 6.
Tens of thousands of inspired sources have come into existence since the time that the cave paintings of the Chauvet cave were executed about 30,000 B.C. These paintings are the earliest known inspired sources. However, it was not until 1996 that the existence of these was revealed to man by the Creator. Why did the Creator wait thousands of years until just recently to reveal to man the existence of inspired sources? Is it possible that man would have benefited from inspired sources if they had been revealed to him at an earlier time? This is not known, for certain. However, this question will be addressed in Chapter 2. Suffice it here to say, that the knowledge conveyed by the symbolism of the inspired sources probably would not have been particularly useful to man until the present time. Likewise, the revealing of the existence of the inspired sources to man probably would not have been particularly useful to the Creator’s plan and purpose for the creation until the present time, as well.
Figure 1. The three illustrations
(inspired sources: 1-1, 1-2, and
1-3) that are collectively referred
to as the multiple inspired source,
"Lascaux Cave" (Figure 1). Click
on the picture to enlarge. Photo-
graph of the aurochs, © AAAC/
TopFoto/TheImage Works.
Figure 2. The three illustrations
(inspired sources: 2-1, 2-2, and
2-3) that are collectively referred .
to as the multiple inspired source,
"Lascaux Cave" (Figure 2). Click
on the picture to enlarge. Photo-
graph of the aurochs, ©AAAC/
TopFoto/The Image Works.
The Lascaux cave, as we shall see, is another cave in southern France, where Upper Paleolithic cave art has been found. In Volumes I and II of The Creation, three inspired sources, concerning the cave art of the Lascaux cave, will be studied. These three inspired sources comprise the multiple inspired source, “Lascaux Cave” (Figures 1 and 2).1 They are introduced in Volume I, and will be studied more completely in Volume II of The Creation. In Volume I, these three inspired sources are designated inspired sources 1-1, 1-2, and 1-3 of Figure 1 and inspired sources 2-1, 2-2, and 2-3 of Figure 2. Click on the picture to enlarge. All three of these inspired sources are inspired illustrative photographs that appear in an article entitled, ‘Lascaux’, written by S. and T. Champion in The Atlas of Archaeology, edited by K. Branigan.2 The arrangement of the three inspired sources in Figures 1 and 2 is the same as that which appears on page 30 of the above book. The features and labels depicted in these three inspired sources are more clearly visible when Figures 1 and 2 are enlarged, and this is done by clicking on the pictures. However, it is not really necessary to study Figures 1 and 2 too carefully at this time, since the discussion concerning them and their symbolism is the subject of Volume II of The Creation. Also, it should be noted that Figure 2 is the same inspired source as Figure 1, except in Figure 2 the alignments are not drawn to allow better viewing of the features of the inspired source.
A typical inspired source possesses alignments that are limited to the borders of the inspired source in which they originate. However, there also exist non typical inspired sources that are not limited in this way. The three inspired sources, referred to above, that is, inspired sources 1-1, 1-2, and 1-3 of Figure 1, are non typical in this respect. Though it may seem incredible, these three inspired sources are capable of being studied as one inspired source. This phenomenon, when it is present in the study of two or more inspired sources, is referred to in The Creation as the multiple inspired sources phenomenon. This phenomenon is evident in Figure 1 of the multiple inspired source, “Lascaux Cave” (Figure 1), which is comprised of inspired sources 1-1, 1-2, and 1-3. Here, it can be seen that alignments that would normally be expected to originate and terminate within the borders of the same inspired source, in most cases, continue beyond these borders and terminate within the borders of another inspired source.
Therefore, inspired sources that comprise a multiple inspired source possess alignments that are not necessarily confined to the inspired source where they originate. Instead, they may terminate within the borders of another inspired source. It may be noted that the alignments of the three inspired sources that comprise Figure 1 intersect with various features within these three inspired sources, and these intersections are all very precise. As we shall see, this precision is a characteristic of the alignments of inspired sources, and is believed to be compelling evidence that the placement of these alignments is not simply random, but is the result of the divine, supernatural will of the Creator. Because of this, the most reasonable explanation for inspired sources, in general, and multiple inspired sources, in particular, it is believed, is a divine, supernatural explanation that recognizes that the Creator was involved in the production of inspired sources.
If the symbolism of inspired sources is intended to convey knowledge to man, one might ask, what kind of knowledge is it that is being conveyed? A study of the symbolism of inspired sources reveals that this knowledge is not knowledge that man has already discovered. On the contrary, the symbolism of inspired sources reveals knowledge that man has not yet discovered, or, if discovered, has an incomplete understanding of at the present time. Furthermore, this knowledge, it is believed, concerns matters of great importance to man at this time in his history. In this regard, it is possible that man has arrived at a point in his spiritual and technological development, when it is now possible for him to understand and use the knowledge conveyed by the symbolism of inspired sources. This knowledge, it is believed, has the potential to transform man’s present civilization into an advanced civilization, and eventually into an advanced interstellar civilization.
In the Creator’s eyes, this may be necessary in order to prepare man, technologically, for the end of the present age and the beginning of the future age. However, this does not mean that no need exists for man to be prepared, spiritually, for this time. As we shall see in Chapter 3, man’s eternal destiny in the future age involves, both, a spiritual and a technological aspect. With regard to the spiritual aspect, this involves, at the present time, man’s acceptance of the gospel of Jesus Christ, and with regard to the technological aspect, this involves, at the present time, man’s acceptance of the inspired sources. Therefore, the Creator, it is believed, through the gospel of Jesus Christ and the inspired sources, has provided man with the means by which he may prepare himself for his destiny in the future age, or as the latter is referred to in Christian eschatology-the age to come (Mt. 12:31-32).
In this chapter, Chapter 1 (Posts 3-8), we will discuss the concept of inspired sources, how the latter can be recognized, examine examples of inspired sources, and discover what kind of knowledge is conveyed by the symbolism of these artifacts. With regard to the concept of inspired sources, we have seen in this subhead that inspired sources possess alignments (a straight line possessing three or more points) that convey knowledge through symbolism. Perhaps, most unusual is the concept that an alignment from one inspired source sometimes can be extrapolated to another inspired source on the same page of the book, or even, on another page of the book. These inspired sources, called multiple inspired sources in this blog, are clearly the result of a supernatural manifestation of some kind. In The Creation, it is assumed that that this supernatural manifestation has its origin with the Creator.
Another example of an inspired source-one that is not a multiple inspired source-may be found in Post 5 of this blog. This post is entitled, Post 5. The Chauvet Cave and Transfer Activity by People of the Aurignacian Culture Between 35,000 B.C. and 30,001 B.C.
1 Branigan, K., Consultant Editor: The Atlas of Archaeology, ©1982, from the article: ‘Lascaux’ by S. and T. Champion, 30-31 (St. Martin’s Press), Photograph of the
aurochs, © AAAC/TopFoto/The Image Works
2 Branigan, K., Consultant Editor: The Atlas of Archaeology, ©1982, from the article: ‘Lascaux’ by S. and T. Champion, 30-31 (St. Martin’s Press), Photograph of the
aurochs, © AAAC/TopFoto/The Image Works
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