Post 4. The Discovery of the Chauvet Cave (The Creation, Volume I: Chapter 1, Subhead 2)

The Discovery of the Chauvet Cave (Post 4. CVIC1S2)

The Chauvet cave is located in the gorges of the Ardeche River in southeastern France.  At the entrance of the gorges, the Ardeche River has carved a natural arch in the limestone through which the waters of the river flow.  This arch is the famous Pont d’Arc.  Nearby, located in the side of a cliff is the Chauvet cave (Figure 3).³ Click on the picture to enlarge the map.  The Chauvet cave is one of about twenty-eight decorated caves that have been discovered in the gorges of the Ardeche.   Most of these caves date from the Solutrean phase of the Upper Paleolithic period, that is, between 19,000 B.C. and 16,000 B.C.  However, the Chauvet cave dates to an earlier time, the Aurignacian phase of the Upper Paleolithic period, that is, between 35,000 B.C. and 25,000 B.C. 

 

 Figure 3.  A map of southern France showing the location of the

Chauvet cave and the Lascaux cave, as well as the general location of

the transfer activity grottobase complexes associated with those two

 caves.  These complexes are believed to have existed beneath the

surface of the earth near Rennes-le-Chateau and La Rochelle,

respectively.  Click on the picture to enlarge the map.

The Chauvet cave was discovered by three French speleologists, J. Chauvet, E. Brunnel Deschamps, and C. Hillaire on December 18, 1994.  Upon discovering a draft of air circulating through a rock-filled duct, the three cleared the duct and entered into a cave of large dimensions.  The primary cave would be found to be about seventeen hundred feet in length.  Caves of this length are very rare in the gorges, and the three explorers were beside themselves with joy and amazement as they made one discovery after another.  The first cave painting discovered by the three was that of a little mammoth painted with red ochre on a rock that projected from the ceiling.  It may be of interest to note that inspired sources reveal that the most advanced of the living entities that serve the Creator possess proboscidean-like physical features.  These living entities are members of the advanced interstellar civilization that is symbolized by alignment J in the multiple inspired source, “Lascaux Cave” (Figure 1).  See Chapter 1,Figure 1 (Post 3), and click on the pictures to enlarge the photographs.  Is it possible that the Creator had planned for this moment, and chose to reveal to the discoverers of the cave, by means of symbolism, something concerning the anatomical characteristics of the most ancient living entities that dwell in the universe? 

This discovery was followed by the discovery of a red rhinoceros with a large horn.  Until this time no painting of a rhinoceros had ever been seen in the decorated caves of the gorges. However, of the approximately two hundred and sixty-seven animals depicted in the Chauvet cave, rhinoceroses predominate, accounting for forty-seven of these animals.  As we shall see shortly, the rhinoceros, symbolically, depicts an advanced interstellar civilization that serves the Creator.  However, between 40,000 B. C. and 35,001 B.C., this civilization was only an advanced civilization (not an advanced interstellar civilization).  During this period of time, some of the living entities of this civilization intermarried with members of mankind on the surface of the earth.   Some of the descendants of these intermarriages, it is believed, transferred from their primitive culture on the surface of the earth to the advanced civilization, mentioned above, in the interior of the earth.  In The Creation, this activity is referred to as transfer activity.  The descendants of these intermarriages, and others, apparently, used the Chauvet cave as a transfer point during the period of time transfer activity was carried out by these people, that is, between 35,000 B.C. and 30,001 B.C.  The advanced civilization, mentioned above, became an advanced interstellar civilization about 31,000 B.C., and is symbolized by alignment G in the multiple inspired source, “Lascaux Cave” (Figure 1).  See Chapter 1, Figure 1 (Post 3), and click on the pictures to enlarge the photographs.  The symbolic association of this civilization with the rhinoceroses depicted in the Chauvet cave, as we shall see, is depicted in the symbolism of another inspired source, "Chauvet  Cave: The Panel of the Horses” (Figure 4).  We shall study this inspired source in the next post of this blog.

The three explorers had explored only half the cave, when they decided to return to their homes.  When they came back a short time later, they were accompanied by another person, the daughter of one of the explorers. Their party now numbered four.  In addition, they had brought with them more powerful lamps that allowed them to explore the cave more carefully. With the more powerful lamps, the cave paintings and the calcite formations of stalactites and stalagmites now could be seen more distinctly.  Then, as they arrived at that part of the cave that they had left unexplored earlier, their lamps illuminated a black painting of horses, aurochs, and rhinoceroses.  This frieze, called the “Panel of the Horses,” undoubtedly, is the most magnificent painting of the cave-not only in terms of its execution, but its symbolism, as well.  The transfer point within the Chauvet cave that was used by the people of the Aurignacian culture, who were involved in transfer activity between 35,000 B.C. and 30,001 B.C., may have been located here, near the Panel of the Horses.

Because of the natural beauty of the gorges of the Ardeche River near Pont d’Arc, this area was made a nature reserve in 1980.  This was several years before the discovery of the Chauvet cave in 1994.  This has enabled the cave to exist in its natural setting undisturbed since the time of its discovery  In addition, because of the undisturbed nature of the interior of the cave and the likelihood that it would yield considerable information about the use of the cave by man and other creatures, the French government considered the preservation of the cave most important. Therefore, in 1995, it was decided that the cave would not be opened to the public.  In both of the actions concerning the Chauvet cave, referred to above, it would not be unreasonable to assume that the Creator was involved in the decisions taken by the French government to preserve this cave.  Perhaps, the Chauvet cave, in the eyes of the Creator, is a sacred place, and he desired that it be treated with reverence by man.  The reasons why the Chauvet cave may be considered sacred in the eyes of the Creator will be discussed at the end of this chapter. 

Commentary 

It seems strange that the Chauvet cave was discovered in 1994, only two years prior to the discovery of the existence of inspired sources by man in 1996.  It also seems strange that more than a score of other caves containing Upper Paleolithic paintings were discovered in the gorges of the Ardeche River in southeastern France before the most important of these-the Chauvet cave-was discovered.  However, anomalies, such as these, are not uncommon when inspired sources are involved.  Therefore, because the Chauvet cave was the place, where the first inspired sources produced by man had their beginning about 30,000 B.C., it may be fitting from a symbolic point of view that inspired sources and the knowledge conveyed by the symbolism of these should begin to be revealed to man shortly after the discovery (or rediscovery) of the Chauvet cave by man  in 1994.  This is evidence, if one chooses to accept it as such, that the Creator’s purpose and plan for the creation and the life that dwells therein often involves long periods of time-sometimes incomprehensibly long-until that which the Creator set in motion comes to pass, and comes to pass in harmony with other aspects of his purpose and plan, which already have come to pass.

 

Credits

3   Hetrick, Jack:  The Creation:  Its Infinite Features and Finite Realms, Volume I:  The Mystery of Inspired Sources and Their Significance to Man, ©2013 (The blog:  Inspired Sources and Man’s Destiny by Jack Hetrick (http://www.inspired sources.blogspot.com).

 

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Post 3. Inspired Sources and Their Unusual Symbolism (The Creation, Volume I: Chapter 1, Subhead 1)

                          
                              The Creation:  Its Infinite Features and Finite Realms

                                                            
                                                              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)

 Inspired Sources and Their Unusual Symbolism (Post 3. CVIC1S1)

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).

 

Commentary

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. 

 

Credits

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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Post 2. Title Page, Contents, and Introduction (The Creation, Volume I)

 

 

The Creation:

Its Infinite Features

and

Finite Realms

Volume I

The Mystery of Inspired Sources

and

Their Significance to Man

by

Jack Hetrick

Copyright © 2013 by Jack Hetrick

All rights reserved

All Scriptural references are taken

from the King James Version of the Bible

 

 

                                                                 Contents                   

 

Contents

Introduction

Chapter 1                       Inspired Sources and Their Unusual Symbolism

Chapter 2                       Three Reasons Why the Existence of Inspired Sources Was
                                       Revealed by the Creator to Man in the Late Twentieth Century
                                       A.D., and Not Before That Time

Chapter 3                       The Amazing Destiny of Redeemed Man

Chapter 4                       The Four Finite Realms of the Creation, the Soul-Spirit of Man,
                                       and the Abodes of the Dead of the Spiritual Realm

Chapter 5                       Mystical Technology, Mystical Particle Transfer, and Spaceship-
                                       Related Operations of Mystical Technology

Chapter 6                       Techniques Employed in the Study of Inspired Sources, the Three
                                       Most Frequently Encountered Kinds of Inspired Sources, and the
                                       Role of the Creator in the "Creation" of an Inspired Source

Chapter 7                       A Study of the Inspired Source, "Jewish High Priest" (Figure 22), 
                                       and the Symbolism That Pertains to It

Epilogue                        The First and Fundamental Operation of Mystical Technology

Appendix                        A Tentative List of Titles of the Seven Volumes That Comprise
                                      The Creation:  Its Infinite Features and Finite Realms

Credits

                    

 

 

                                                              Introduction

About 15,000 B.C. a small number of people of the Magdalenian culture dwelling in the Dordogne River region of southwestern France were involved in an activity of an extraordinary kind. They transferred from their primitive culture on the surface of the earth to an advanced interstellar civilization that dwelt in the interior of the earth. This transfer activity did not involve all people of the Magdalenian culture dwelling on earth at that time. However, those people that were involved, it is believed, transferred by means of a mystical pathway that enabled them to safely descend into the interior of the earth and arrive at their destination.

During the period of time that the people of the Magdalenian culture were involved in transfer activity, a cave located in the Vezere Valley of the Dordogne River region played an important role in this activity.  Today, this cave is known as the Lascaux cave, and is the best known cave in Europe where Upper Paleolithic cave art has been found.  However, in the fifteenth millennium B.C., between 15,000 B.C. and 14,501 B.C., this cave was the transfer point, where people of the Magdalenian culture involved in transfer activity began their journey on the mystical pathway.  Their destination was a base located in the interior of the earth, where dwelt living entities of an advanced interstellar civilization.  Once these Magdalenian explorers entered the cave with the intention of finding an entrance to the underworld, they never returned to their former clans and communities on the surface of the earth, again.   Consequently, the cave may have remained unknown to other people of the Magdalenian culture until later in the millennium, when the decoration of the cave was executed by Magdalenian cave artists.  This, it is believed, occurred sometime between 14,500 B.C. and 14,001 B.C.  

Although the Lascaux cave probably is the most famous cave in Europe, where parietal art has been discovered, it is not the oldest.  This distinction belongs to the Chauvet cave, located in the gorges of the Ardeche River in southeastern France.  Here, transfer activity was carried out between 35,000 B.C. and 30,001 B.C., and this transfer activity, it is believed, was the first transfer activity that was carried out by man.   The people involved in this transfer activity were people of the Aurignacian culture.  As in the case of the Lascaux cave, the Chauvet cave was decorated by cave artists, also.  This is believed to have taken place between 30,000 B.C. and 28,000 B.C.   In addition, like the cave art of the Lascaux cave, the cave art of the Chauvet cave appears to have been executed immediately following the transfer activity that was carried out at that cave.  The paintings of the Chauvet cave are believed to be the first artifacts of man that were inspired by the Creator.  In The Creation:  Its Infinite Features and Finite Realms, artifacts, such as these, are referred to as inspired sources.

The cave art of the Chauvet cave and the Lascaux cave, as we shall see, possess an unusual symbolism.   This symbolism is found not only in the cave art, itself, but also in photographs found in books, magazines, and other printed materials that pertain to these caves.  And this symbolism is not limited just to the paintings of these caves.  It also appears in tens of thousands of other artifacts produced by man since 30,000 B.C.  A careful study of this symbolism reveals that it is not symbolism inspired by the artist.  Rather, it appears to be symbolism that is inspired by an intelligent, spiritual being with supernatural attributes.  In The Creation, this being is believed to be the supreme, spiritual being, whom some refer to as God, or the Creator.  In The Creation, the Creator is believed to be the Triune Godhead of Christianity:  the Father, the Son (the Word), and the Holy Spirit. 

The artifacts of man that are inspired by the Creator and possess this unusual symbolism are called inspired sources.  Despite the fact that some inspired sources are thousands of years old, the existence of inspired sources was not revealed to man until only recently-in the last decade of the twentieth century.  As we shall see, the symbolism of inspired sources conveys knowledge, and this knowledge, it is believed, is of a kind that the Creator feels is important for man to receive at this time in his history.   Although this knowledge covers a wide range of subjects, the subject most frequently encountered in inspired sources concerns a new kind of technology.  In The Creation, this new kind of technology is referred to as mystical technology.  The Creator, apparently, desires man to use the knowledge conveyed by the symbolism of inspired sources at this time to transform his present civilization, based on material technology, to an advanced civilization, based on mystical technology.  This transformation, in turn, eventually will be followed by another in which man’s advanced civilization will be transformed to an advanced interstellar civilization, also based on mystical technology.

 In The Creation:  Its Infinite Features and Finite Realms, Volume I:  The Mystery of Inspired Sources and Their Significance to Man, we shall discuss this new kind of technology.  As we do so, we shall also seek to answer the questions:   (1) what is mystical technology, and (2) why is it necessary for man to discover and use mystical technology at this time in his history.   Man’s consideration of these questions, ultimately, will present him with a choice.  Does he wish to continue to live in a civilization based on material technology or does he wish to live in a civilization based on mystical technology.  Man’s destiny, it is believed, is associated with the latter.  In addition to this technological aspect of man’s destiny, there is also believed to be a spiritual aspect, as well.  The latter, it is believed, is represented by Christianity.  Therefore, the doctrines and eschatological predictions of that religion are also addressed in Volume I, as they are in all volumes of The Creation. 

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Post 1. Introduction to the blog: Inspired Sources and Man's Destiny, Volume I (The Creation, Volume I)

The work that follows is the first volume of several volumes that comprise the series, The Creation:  Its Infinite Features and Finite Realms by Jack Hetrick.  This volume, Volume I, is entitled, The Mystery of Inspired Sources and Their Significance to Man.  It is a published  work in book form (copyright © 2014 by Jack Hetrick) that concerns man's spiritual and technological destiny.  Because it is a copyrighted work, all rights are reserved.  All Scriptural references in this work are taken from the King James Version of the Bible. 

In regards to man's spiritual and technological destiny, the spiritual destiny of man, it is believed, is intimately involved with Christianity and the Christological  and eschatological aspects of that religion that pertain to the end of the present age.  The technological destiny of man, it is believed, is intimately involved with a recently discovered body of knowledge, the increments of which are derived from an unusual symbolism.  The Creation series is different from other works of this genre because it is based on the discovery that many artifacts produced by man, past and present, possess an unusual symbolism.  In The Creation, these artifacts, and photographic images of them, are referred to as inspired sources.  They are called "inspired" because they are 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.  This blog is entitled, Inspired Sources and Man's Destiny (http://www.inspiredsources.blogspot.com).  Additional information concerning inspired sources may be found in the blog entitled, Inspired Sources, Symbolism, and Anomalies (http://www.inspiredsourcessymbolismanomalies.blogspot.com) by Jack Hetrick. 

The knowledge derived from the symbolism inspired sources covers a wide range of subjects.  One that is of particular interest in this blog concerns a new kind of technology (not merely a new technology, but a new kind of technology) that man must discover and employ at this time in order to be prepared for the end of the present age.  This new kind of technology is referred to in The Creation as mystical technology.  The principles of mystical technology are revealed in the symbolism of inspired sources.  Presumably, after man has come to understand the principles of mystical technology through the study of the symbolism of inspired sources, the Creator will then help man discover the devices that employ it.  All of this will be necessary for man to be prepared, technologically, for the end of the present age.  However, it will be necessary for man to be prepared, spiritually, for the end of the present age, also.  Therefore, Christianity and Judaism are discussed in Volume I of The Creation, as well.

Finally, a statement is in order concerning the images used in this blog.  Frequently, the photographs, illustrations, and tables that appear in the text of this blog are small in size and difficult to see with the unaided eye.  However, the blog medium has a solution to this problem, and that is, simply click on the image and the image will be enlarged.  When finished viewing the image, click off the image and the latter will return to its normal size in the text of the post. 



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