This page will be updated as more confirmation or supporting evidence comes in and will be added accordingly.
So to get the ball rolling I woke up to an amazing reply from someone very special this morning (16/10/13)
Obviously I have been trying to get in touch with as many people as I possibly can to help me get to the bottom of what I have found in the Chauvet cave art. A big thank you goes out to Hugo Kennes for getting me connected with Catherine Acholonu.
You may not have heard of her, but many others have.
Her facebook status lists her as working for the United Nations forum for art and culture.. but that is nothing compared to what else is on her incredible list of achievements.
Prof. (Mrs) Catherine Obianuju Acholonu (born 26 Oct 1951, Orlu, Nigeria) is a Nigerian writer, researcher and former lecturer on African Cultural and Gender Studies. She is the former Senior Special Adviser (SSA) to President Olusegun Obasanjo on Arts and Culture, and foundation member of the Association of Nigerian Authors (ANA).
Catherine Acholonu was born in Orlu to the family of Chief Lazarus Olumba. She attended secondary schools in Orlu before becoming the first African woman to gain a master’s degree (1977) and a Ph.D. (1987) from the University of Düsseldorf, Germany. She taught at Alvan Ikoku College of Education, Owerri, commencing 1978.
Acholonu is the author of over 16 books, many of which are used in secondary schools and universities in Nigeria, and in African Studies Departments in USA and Europe. Her works and projects have enjoyed the collaboration and the support of United States Information Service (USIS), the British Council, the Rockefeller Foundation and in 1989 she was invited to tour educational institutions in USA, lecturing on her works under the United States International Visitor’s Program.
In 1990 Catherine was honored with the Fulbright Scholar in Residency award by the US government, during which she lectured at four colleges of the Westchester Consortium for International studies, NY, USA.
Part of her work has taken her into the wider sphere of sustainable development. In 1986 she was the only Nigerian, and one of only two Africans, to participate in the United Nations Expert Group Meeting on “Women, Population and Sustainable Development: the Road to Rio, Cairo and Beijing”, which was organized jointly by the United Nations Population Fund (UNFPA), the Division for the Advancement of Women, and the Division for Sustainable Development. This took place in the Dominican Republic, and focused on the mainstreaming of gender into the Plans of Action of the UN world conferences of Rio, Beijing and Cairo. Prof Acholonu holds several awards from home and abroad.
From 1999 to 2002, she was the Special Adviser on Arts and Culture to the President of the Federal Republic of Nigeria, a post she resigned from to seek election, along with a number of other writers who felt their inclusion in Nigerian politics would for the good. However, she lost the contest for the Orlu senatorial district seat of Imo State, and drew attention to irregularities and rigging.
She was recently appointed African Renaissance Ambassador by the African Renaissance Conference with head quarters in the Republic of Benin, and Nigeria’s sole representative at the global Forum of Arts and Culture for the Implementation of the UN Convention to Combat Desertification (UNFAC). She is listed in the International Who’s Who of World Leadership, USA; the African Women Writers’ Who’s Who; the Top 500 Women in Nigeria; Who’s Who in Nigeria; and the International Authors and Writers Who’s Who, published in Cambridge, UK.
Our first contact was in relation to the ancient rivers in North Africa that were recorded in the cave art of Chauvet 30,000 years ago. She shared my views on this matter (read more here)
After further discussion revolving around a few other cave images, we came to discuss one of the most cleverly hidden images found to date. This image is of a set of felines looking at or guarding what, at first, appears to be a chalice or cup (grail) of some description. But there is far more in this image than what immediately meets the eye. Catherine has pinpointed many of the images and given one of the most amazing replies I could have ever hoped for.
We are both now in full agreement that the entire time line and historical knowledge of the ancient Egyptian and Sumer cultures needs to be revised.
The leopards/tigers in mirror-image are very very intriguing. They are witnessing the birth of Atum/Amun – the Son of the Mother Goddess in the Egyptian Zep Tepi (First Time)! The mirror leopards, watching, witnessing represent The Watchers – the Cosmic Gods. I see two humanoid beings in the center, the one above is a Father/Mother figure wearing a crown with arms outstretched like a BAT, legs outstretched, giving birth. He/She is giving birth to the lower figure who looks like the SON. This lower figure is also with outstretched arms. He is lunching forward/thrusting his arms and shoulders forward like a swimmer in water. His head is bent down. His face is partially hidden, looking downwards, while the crown of his head is showing very clearly. He also looks like a BAT or BATMAN coming out of his Mountain Home. (The Bat is the animal that lives in the Dark, and it is a Black animal, just as it is portrayed in Batman movies. It is the dweller in all dark Caves everywhere. It dwells in Hiding. It is thus the metaphor for the Hidden God of the Egyptian Duat Atum-Ra/Amun/Tmu). A flat-topped phallic Mountain (monolith/lingam) is located directly below him on the ground, shaped like an inverted U. It is the Egyptian Primeval Mound or Benben where Atum stood to utter the original Creative Act after he emerged from the womb of the Chaotic Waters of NUN. Thus this lower figure is AMUN-RA (Atum/Tmu) rising from the Womb of Chaotic Nun at the moment of First Creation.
The image also represents Osiris resurrecting from his Tomb in the Underworld DUAT in a future time, wch is NOW – the new Age of Enlightenment. All in all the image captures the Egyptian First Time (Zep Tepi) when Atum rose from the Abyss of the Primeval Waters to begin the Creative Act. The only witnesses to this event were Cosmic Beings, represented in the Art with the metaphor of animals, for man had not yet been called forth (created). The animals represent COSMIC beings (the so-called KAs or KASHIs of the Egyptian Zep Tepi, who were companions of Atum in the Moment of First Creation (Zep Tepi). Leopards are totems of female cat-goddesses of Egypt, such as Sekhmet and Wadjet.
Their presence indicates that only goddesses were in existence when Atum was born. They were the midwives of his emergence from the womb of Nun. Goddesses were the mothers of the gods. And God (Atum) was born by a Goddess, who is called Nne Chukwu (Mother of God) among the aboriginal Igbos of Nigeria. By the way, the famous NUN River of Egyptian mythology is a Delta river physically located in the Lower Niger area of Nigeria, so too is the celebrated AN/On (Igbo ONU) – the Opening into the Bottomless Pit, wch leads into the Underground Duat in the mythical Land of the Dead which the Egyptians called AMANA, BUT WHICH IS ALSO A PHYSICAL PLACE IN IGBOLAND – A VILLAGE OF THE DEAD CALLED ‘AMANA’ BY IGBO NATIVES.
There are more images that are not included in my book, yet I am sure they have some meaning that goes beyond me. I strongly believe I have not yet uncovered everything that is hidden in the art and will need to spend a lot more time going through it all.