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TANATA is devoted to discussing the paradoxes and the mysteries of life, among which is the paradox of the coexistence of good and evil. “God is love,” John tells us. Evil exists, we would suggest, not because God is detached or unconcerned, but because free will exists which is required for true, unforced love to exist. Still, it is painfully hard to reconcile this paradox. We believe that all evil one day will be judged and destroyed, until then we must pray.

DANIEL 7:13-14

13 “I was watching in the night visions, and behold, One like the Son of Man, coming with the clouds of heaven! He came to the Ancient of Days, and they brought Him near before Him.

14 Then to Him was given dominion and glory and a kingdom, that all peoples, nations, and languages should serve Him. His dominion is an everlasting dominion, which shall not pass away, and His kingdom the one which shall not be destroyed.

REVELATION 1:7

7 Behold, He is coming with clouds, and every eye will see Him, even they who pierced Him. And all the tribes of the earth will mourn because of Him. Even so, Amen.

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Friday
Nov202009

« Black Virgin Revelations »

DID THE KNIGHTS TEMPLAR BELIEVE THAT THE VIRGIN MARY AND JESUS WERE BLACK? DID THE MEROVINGIANS OBSCURE THE ORIGINS OF THE CULT OF THE BLACK VIRGIN?

In their zeal to dredge up an ancient controversy about Jesus and Mary Magdalene which has no basis in fact, Dan Brown and company failed to address in The Da Vinci Code a legitimate mystery involving the Knights Templar, the Merovingian dynasty and the Priory of Sion and the form of the Black Virgin or Madonna, which plausibly puts Jesus in a much more revealing light. The mystery of the Black Virgin and the impetus behind a devoted cult of the Black Virgin persist, at the center of which we find not surprisingly Mary Magdalene — the poster child for nearly two millennia of disingenuous efforts to recast Jesus as just another man.

The Knights Templar and what they believed was in their possession when they returned from the Holy Land with the first statues of the Black Virgin could have solved a bona fide mystery involving Jesus and who he was, if Brown and his team of editors and writers had bothered to look.

The Black Virgin in Europe may even shed light on the presence of the woman presumed to be Mary Magdalene in Leonardo da Vinci’s The Last Supper, which, as we have heretofore suggested, appears to be a repainted or vandalized work, given the presence of an apparently disembodied hand grasping a dagger behind the back of Judas. Not insignificantly, the mysterious floating hand is in the vicinity of the demure woman beside Peter who looks relatively out of place among the group of disciples in an uproar.

The origins of the cult of the Black Virgin in Europe grew out of the placement of nearly 500 statues of the black madonna (and sometimes child, also black) in European churches, the majority of which — some 100 — are in France. But before this placement the Knights Templar brought back from the crusades in the Holy Land a cache of thousands of Black Virgin statuettes, which eventually made its way into the hands of the Priory of Sion. This secret society operating in the village of Rennes le Chateau received the cache of “treasures” along with other “relics” with mischief on their minds. Among these other relics were the alleged robe of Jesus, alleged pieces of the cross upon which Jesus was crucified and the alleged bones of a resurrected Jesus.

To the Priory of Sion, according to Barbara Aho, the “treasures of Rennes le Chateau” would be used to discredit the deity of Jesus, which is arguably relevant to understanding the pervasive mystery of the Black Virgin and child — and perhaps much more regarding how Jesus was portrayed in medieval times and the Renaissance. Many legends falsely attribute the origins of the “miraculous” Black Madonna statues to the 12th century Merovingians, which Aho says “raises disquieting religio-political questions.”

Milton William Cooper in his book Behold A Pale Horse, along with the authors of Holy Blood, Holy Grail Michael Baigent, Richard Leigh and Henry Lincoln all claim that “the treasure of Rennes le Chateau,” the French village where the Prieure of Sion deposited the Templars’ Grail cache, was to be used for “the undoing of Christianity,” according to Aho, author of The Merovingian Dynasty: Satanic Bloodline of the Antichrist and False Prophet.

“The Prieure obviously planned to produce, i.e. manufacture, relics which would disprove the divinity of Jesus. A French website maintains that this is the famed secret of Rennes le Chateau,” writes Aho.

Could it be that the mystery of the Black Virgin stemming from the discrediting and misrepresentation of Jesus in European society had in the beginning — and has now — a racial component?

Ralls points out that at the time that the Black Virgin forms began to emerge in churches throughout Europe in the 11th century there was no confusion as to who the Black Virgin and child represented, at least not in the minds of the crusaders. The Knights Templar, who were responsible for the building of thousands of churches in Europe, knew, Ralls tells us, that the statues represented the Virgin Mary, the mother of Jesus, whom they solely venerated. Though efforts have been made over the centuries to identify the Black Virgin with Mary Magdalene, the mother goddess Isis and her child Horus, and the goddess of Virgo, the strictly devoted Templars were in no way disposed to identify the forms with anyone other than the mother of Jesus. Their intentions for the Black Virgin would clearly have resembled the reasons for which the statuettes had been created in the Holy Land and throughout Africa. The Gnostic traditions which elevated Mary Magdalene and the mother goddesses Isis and Virgo at the time were strictly limited to Alexandria, Egypt, where these traditions originated.

The mystery of the Black Virgin and child then is not so mysterious after all, if we know the origins of the first statuettes in Europe and the nefarious purposes for which the Priory of Sion in Rennes le Chateau intended to use them. Did the Priory of Sion aggressively launch the mystery of the Black Virgin, which the Merovingian kings in maintaining their claims to be descendants of the union of Jesus and Mary Magdalene were inclined to advance? If the Virgin Mary and child were in fact black, which is suggested to us by their creation in Jerusalem, those Europeans who have claimed to be of the lineage of Jesus have a problem, they being white. Presumably, the Merovingians would have recognized this. Not only would the blackness of Jesus refute The Da Vinci Code’s fictionalized claims about Jesus and Mary Magdalene and their bloodline but we have a new way of looking at The Last Supper, imagining how it may once have appeared as we note that the patron of The Last Supper, the Duke of Milan Ludovico Sforza, nicknamed “the Moor,” happened, by Leonardo’s own confession, to have been black, “as black as the duke’s justice.” (White)

The Last Supper was completed by Leonardo in 1498, one year before the French sacked Ludovico and overtook Milan — who may have followed the prescription of the Priory of Sion to discredit and misrepresent Jesus, something which Ludovico the Moor may have himself striven not to do.

There is no mystery if we consider from whence came the first statuettes of the Black Virgin — from Jerusalem and not Alexandria — and that the crusading knights believed they had representative forms of the mother of Jesus and the Christ child in their possession when they returned. Further, there is no legitimate mystery surrounding the Black Virgin, which also appears in numerous paintings in Europe, if we know that there was the intent by a secret society to subvert what the Knights Templar were in effect telling their fellow Europeans when they brought back the statuettes and a new way of thinking about Jesus and his mother.

The mystery and confusion continues today, but with who advancing it?

Worshipers are convinced that the Black Virgin forms represent Mary Magdalene — but we have racially relevant reasons to ask why. Was Mary Magdalene black, an ancient exotic goddess in her own right? There is a place in Ethiopia which was once called Magdala, the name of a mountain fortress where Ethiopia stored its treasures and national archives (before it was looted by the British in 1688 at Queen Victoria’s behest), but was Magala in Ethiopia known to the writers of the Gospels? Could Mary Magdalene and her family have made their way from Ethiopia to Galilee or Jerusalem, which makes her identification as the Magdalene, a black woman, seem more feasible, though it is an odd name? It remains a mystery where Mary Magdalene hailed from, if she truly ever existed, and there are theories which suggest that she did not, based on the widely varying events involving her from Gospel to Gospel. We wonder why Mary Magdalene would have ever been suggested by anyone to be a black woman unless Jesus himself was once known to be black. In any event, the Knights Templar did not believe they were returning from the crusades with statuettes of Mary Magdalene, Isis, or the mother goddess of Virgo, if Aho is correct.

This apparent confirmation that Jesus may have in fact been black — whether the Virgin Mary was or not — and that the Priory of Sion and perhaps Alexandrian Gnostics engaged in intentionally disseminating misinformation regarding the statuettes adds credence to our hypothesis that Jesus’ racial identity may have been covered up beginning with the Crusades, along with the identity of the Beloved Disciple, Jesus’ best friend and the writer of the Gospel of John and perhaps Revelation, whom we have suggested was black by virtue of his birth in Cyrene, what we know today as Libya. To this day the identity of Jesus’ most beloved disciple — who arguably was not one of the twelve — is undetermined, though we’re told by a Coptic biography that his name was probably John Mark (the writer of the Gospel of Mark) and that he was an African scholar, born in Cyrene, as was Simon, who was rudely “enlisted” (as a black man?) to help Jesus carry his cross.

If Jesus was black, as the claims regarding the Knights Templars’ cache of statues suggests, it becomes easier for us to make the case that John Mark, a black African, was the mysterious Beloved Disciple … which brings us once more to The Last Supper.

The Last Supper depicts the precise scene in the gospels of John and Mark (significantly in these two books so named) in which the unidentified Beloved Disciple asks Jesus who it will be who will betray Jesus, at Peter’s urging. In the painting we see Peter nudging a woman, gesturing to her in a way that suggests he is whispering. But we know from scripture that this person whom Peter is urging to ask Jesus about his betrayal was not a woman, but the Beloved Disciple, “the one whom Jesus loved,” whom we’re told in John 20:2 was a man. He was also presumably a man named John, as the testimony of early church father Irenaeus tells us. Interestingly, if the person to whom Peter is speaking in the painting is a woman … then there are only eleven male disciples, and the one who is missing is the disciple John. There were two Johns — John the son of Zebedee, who was one of the twelve, and a thirteenth disciple, John Mark, who was younger than the other disciples. They may both have one time appeared in The Last Supper on Ludovico’s instruction. The largely unknown fact that the patron of The Last Supper was black, according to White, the fact that there is a disembodied hand in the painting which suggests repainting or vandalism, and the absence in the painting of the disciple John — and perhaps two men named John — suggest to us that just as the Priory of Sion sought to misrepresent the Black Virgin statuettes so might someone have repainted The Last Supper, perhaps a Frenchmen, to obscure the fact that in the painting Jesus may once have been depicted as black, as might John Mark have been. We can imagine the black patron of The Last Supper requesting of Leonardo a depiction which at least Ludovico believed would be a more accurate one.

A central question arises: Why would any secret society have ever wished to obscure the racial identity of Jesus and his mother, if this is what has happened? Could it be because the Merovingian kings, who are alleged also to be descended from the Anunnaki, an alien race of mankind’s “creators,” have been instructed by their masters to obscure Jesus’ racial identity so that a white impostor might one day rise to power as the Antichrist? This seems an outrageous explanation, but Aho’s claim that the Antichrist and the false prophet will arise from the Merovingian line causes us to think twice.

— rcg

1. Aho, Barbara, The Merovingian Dynasty: Satanic Bloodline of the Antichrist and the False Prophet, (http://watch.pair.com/merovingian.html#cult).

2. Ralls, Karen, Knights Templar Encyclopedia: The Essential Guide to the People, Places Events and Symbols of the Order of the Temple, Franklin Lakes, N.J.: The Career Press, 2007.

3. White, Michael, Leonardo: The First Scientist, New York: St. Martin’s Press, 2000.

Reader Comments (1)

Some interesting observations. But I doubt that white Christians are ever going to accept the idea that Jesus was black, no matter how strong the evidence. They will believe what they want to believe.
November 21, 2009 | Unregistered CommenterBill

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