Recently, I posted a video showing some James Churchward paintings I had been made aware of and announced the creation of a web-page to display them.
In two of the paintings from 1930-31, there were illustrations which I called “Critters. These paintings were originally presented in November 2018. Close-ups are shown below.
After a little digging, I discovered the identity of the “Critter” (or at least what James called them.)
In my book, “The Stone Tablets of Mu,” containing the 1927 “Copies of Stone Tablets Found by William Niven at Santiago Ahuizoctla Near Mexico City” written by James, a similar image is shown on page 51.
with the following description:
Tablet No. 147
Found at Hacienda de Leon 5m N.W. of Mexico City
Figure that of a dragon – crude
Materials: volcanic rock
Size 18 centimeters long 14 wide and 6 thick
Colors: Red and Yellow
Found at a depth of 13 feet from the surfaceNiven calls this figure a dragon. It looks like it more than anything else.
The spear end of the tail and spokes along the ridge warrants Niven’s deduction.
It is not symbolic in any way, except as a scare crow, to frighten the wicked, and this is pure theory.
I found no mention in either the 1926 “Lost Continent of Mu Motherland of Men” or the 1931 “Lost Continent of Mu.” However, there was mention in the 1931 “Children of Mu.”
A picture from that work featuring the images of several of William Niven’s ‘tablets’ from the Valley of Mexico includes a similar figure.
In the Sacred Symbols of Mu (1933), four similar figures are labelled as Truncated Figures on page 81.
The chapter heading is “Symbols of the Deity” and the following text precedes and describes the figures as follows:
TRUNCATED FIGURES. – Among the Mexican Tablets – Niven’s collection–I find over one hundred peculiar truncated figures. They are purely conventional and were not intended to represent any of Nature’s lives.
On deciphering them I found that they are symbolical of the workings of two of the Great Primary Forces.
The trunk indicates the direction in which these Forces work. The body is that of a chrysalis or pod, the symbol for the home of the Primary Forces. The lines are the numeral writings of the ancients–Uighur pattern.
The legs and arms point to the positions of these Forces under certain conditions.
In the Cosmic Forces of Mu Volume 1 (1934), on pages 27-30 there are four more, new figures with the numbers assigned by William Niven with a more in depth description.
TRUNCATED FIGURES. In this group there are 116 tablets, and with no two identically alike. (Nos. 494, 1623, 1138 and 513, page 28.)
They are purely conventional figures, and were not intended to represent any form of life. As a matter of fact they are completely made up of symbols and the old form of numeral writing.
They are designed to show the origin and workings of two of the four great primary forces.
THE BODIES. Their bodies are either in the form of a crysalis or a pod, used as a symbol for the home of forces, but referring to two only of the primary four.
BODY LINES. The bodies of these various figures have lines and symbols engraved upon them. The lines are the old temple esoteric form of writing and explain what particular action of the forces the figure is symbolizing. The numeral writing carries a hidden meaning. The numbers used in this form of writing are from 1 to 10, inclusive.
Numeral writing was the temple writing in Egypt down to 500 B.C. and probably a little later. We know this from the Greek, Pythagoras, who when in Egypt was initiated into the Sacred Mysteries. When he returned to Greece he taught his pupils “to honor God with numbers.” On every one of these 116 tablets the Creator is mentioned as the One from which the great primary forces originate.
THE ELEPHANT TRUNK. The trunk is a symbol telling us which way or direction the forces move throughout the universe.
All movements arc from west to east and circular or elliptical.
All the heavenly bodies are moving from west to east.
All revolving bodies revolve from west to east.
One particular force controls these movements either directly or indirectly.
Every one of these figures is facing west with their trunks curling towards the east, symbolizing the circular movement of the forces.
Some have a second trunk at the back like tablets Nos. 494 and 513. This trunk is curled within the head and still travelling from west to east. This trunk symbolizes the gyroscopical force, which possibly is the daughter of the great centripetal force,- the force which collected the gases, compacted them and formed worlds out of them. This great centripetal force, as soon as the body revolved, became dead as far as that world was concerned; then the gyroscopical force took up its parents’ work and keeps its world upright.
THEIR LIMBS. Their limbs number from none (see tablet No. 1138), to four as shown in tablet No. 1623.
These mark the movements of the sun.
The tale James elucidates in his work on the “lost continent of Mu,” is based on his assertion of his time with the Rishi, learning how to interpret the ancient symbols. Although waiting 40 years to tell his story to the world (1870s – 1920s,) James pronouncements do not always remain consistent. For instance, some documents from December 1924 authored by James state the migration from Mu to Europe was through the Americas, across the Atlantic and to Europe (see “The Changing Theories of James Churchward“.) In the 1931 Children of Mu, the map says the migration occurred across the Pacific and through Asia to Europe.
The identification of the ‘critter’ as a dragon in the 1927 “Copies of Stone Tablets…” grew in later publications to be symbols of the “Great Primary Forces.” In the 1933 “Symbols of Mu,” the lines in the figures are interpreted by “Uighur patterns” which transforms to “Egyptian temple writing” in the 1934 Cosmic Forces of Mu Volume 1.
If James Churchward had found the Rishi and his tablets back in the 1870s and continued his research until the 1920s, how did such basic ‘facts’ change?
Have a great day,
J. Churchward
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