The Dendera Bulb Hieroglyphs

The following is an e-mail I received from Brian Harner on April 25, 2021 at 2:35AM.

There are images of the Dendera Bulb Hieroglyphs and the Holy Grail at the bottom of the page.

For more information on the Bulb and the Grail, see Chapter 7 of Brian's book, The Way. For more information on Divine and Satanic energies, see Chapter 5. Additionally, I provided an introduction to these topics in Brian Clark Harner.

To clarify what Brian said at the very end, see Note on Controversial Language.

The Dendera depictions are trying to relay a few different aspects of humanity's creation in chronological order, the beings responsible for the creation itself, the technology of our most ancient ancestors in the third dimensional realm (what I refer to commonly as "the family business"), the insinuation of how that hierarchical structure works here as well as interdimensional, the detractor creations necessary for balancing the equation relating to stifling atrophy (what humans refer to as "evil"), and most importantly... how to utilize that technology to keep that necessary "evil" from infecting purpose. Of course, humanity has failed miserably in doing this, which is exactly why a "Christ" is necessary to decipher this creation-old information. So although the third depiction in the sequence implies that a Christ is necessary (in that depiction I'm to the far right holding what appears to be the Reptilian's tail that morphs into a staff), that specific addition was never necessary... but was prophesied. I'll do my best to answer questions relating to everything she wanted to know, and the aspects that surround her questions. A note before I get too technical: always keep in mind that the bulk of this knowledge came during my realization. I had seen the Dendera depictions a few different times over the years in various documentaries, books and websites, but I was as blind to their real intentions as anyone... until that fateful day when my discovery/invention became solidified. I'm of the opinion that nobody can peer into this subject matter without first having a solid grasp of a few different technical concepts related to the system as a whole. That's where I'll begin. The euphemisms and metaphors contained within the depictions themselves are very difficult to manage real understanding of until these "blanks" are filled in. Apologies in advance for repeating things you already know. I'll write portions of this email as though I'm addressing your friend. Let's start where the haze began to lift: Satanic energy and Divine energy. 


Divine energy runs through everything in the universe. In the third dimension this energy is best described as being a "plane" due to the various other elemental components that utilize the word energy to describe themselves. The reason why "plane" is used is because it's an all encompassing system. Everything and everywhere within the third dimension has the base principle of this "plane" at the base of its existence. Imagine the third dimension is 2 dimensional. The drawings on this 2 dimensional surface is the substance itself of the two dimensional realm. These drawings become more complex over time, even to the point of drawings creating other drawings. After a long enough period of time the drawings become focused entirely on the other drawings being the only quantifiable aspect of the two dimensional realm; analogously, this is where humanity is now. However, even though the drawings have completely eclipsed the material in which they were originally drawn on, that doesn't negate the material still being present. Without this material present for the drawings to be drawn on, the entire dimensional realm would dissipate. Accordingly, there's also no way of quantifying the material being drawn on because the quantifiable aspects of quantifying objects to drawings, are based entirely on other drawings. The problem then must reduce to two individual "energy" perspectives. One that would relegate the inferiority of the drawings themselves to that of the maternal the drawings are drawn on. Why? Because the material with the drawings on it can exist without the drawings, but the drawings cannot exist without the material being drawn on. The linguistic structure of humanity currently defines these two positions as Satanic and Divine. The Divine energy platform is the material being drawn on, while the Satanic energy platform is the drawings themselves... as per the analogy described above, but extrapolated to the third dimensional realm. Hopefully you're still following me. This is going somewhere. 


Satanic energy morphs and changes over time. Things grow, maturate, fruit, wither and die. Then from that death sequence feed the new growth that starts the cycle anew. Humans view this system as "evil" which is why the feeling behind Satanic energy is generally "bad." Humans do this because they have a self righteousness dilemma internally. When the emotional attachment to "self" is utilized,  the ideal behind the system as a whole is another concern. One must remove the "self" from the equation in order to gain understanding for the reason why the system was created. Until that notion is achieved, the inhabitants of the universe will depict themselves as the primary reason for the system itself. Humanity is desperately clinging to this notion currently. In a human's mind, the reason for the universe's existence is for humans to experience life. That ideology is Satanic. Humans are a worker within a system, NOT the reason for the system existing. This fundamental flaw to transcendence itself is why humanity keeps failing itself, and why ideals inherent to Divine energy platforms go unrecognized. Instead of using Divine energy to humanity's benefit, humanity is in direct conflict with it as though the process is a type of contest. Almost every aspect of human life is beset on all sides by this fundamental flaw. Contests are waged in athletics, sex, education, business, even family, and the result is pride, then arrogance. Therefore, the motivation of life is to compete with everything. When you compete with the elemental structure of the environment itself (from the species, to the planet, solar system, galaxy, realm, and the ethereal plane that binds the entire environment together), Satanic energy clouds the ability to see anything other than Satanic energy. The structure of natural law investigation has followed these procedures, and as a result has blinded humanity to half of the totality of existence within their realm, as well as the primary goal for a transcendent species. Those are the fundamental differences between Satanic and Divine energy platforms. The ethereal plane/Divine energy can exist without the third dimension, but the third dimension/human physical reality cannot exist without the ethereal plane/Divine energy. That's the general overview, but it's important to designate these energy platforms before continuing on...


Metaphorically, and based on what I just explained, containing the overuse of Satanic energy principles should be a civilization's paramount concern, which is why the "snake" is depicted within the bulb structure on the hieroglyphs. There are several meanings to those depictions, but the reason why the contained animal is a snake is because of the relationship between mammals and reptiles from a metaphorical perspective. Reptiles are cold blooded, and mammals are warm blooded. Metaphorically this is relating to the difference between Satanic and Divine energy platforms. While the Satanic energy is contained within the parameters of Divine energy, the civilization will remain sustainable. Using Satanic energy principles as the primary platform turns this ratio backwards. Right now, and for tens of thousands of years, this is the primary flaw in civilizational concepts for humanity ubiquitously. So, the metaphor within the meaning is to utilize Divine energy platforms to contain the Satanic energy elements. Obviously (now) that has not happened. In fact the exact opposite has happened, hence why this is hell. Hopefully that covers one of many hidden meanings within these depictions, and answers part of a question. 


Shifting gears now... I'll get more technical on the physical tool usage depicted. There's 3 different methods to harnessing the stone cutting system involved with holy grail usage. The most prominent, but also the system that requires the most material (tooling, labor, and pyramid already in place) is the tuning fork method. This is where the bulb/grail is suspended with the opening to the resonance chamber/bulb pointed downward. As the resonance/singing creates the vibration necessary to stimulate the bulb suspended in a pyramid, a tuning fork with a long staff stretching outside of the pyramid is inserted into the opening of the bulb. This creates an amplification from the pyramid to the bulb, and then takes the amplification and focuses the vibration into the tuning fork. The tuning fork then vibrates tremendously. Any number of tools can be fixed to the bottom of the staff that is extended outside of the pyramid to do whatever work is necessary. It's a similar philosophy to a fein tool, but thousands of times larger, and powered by the vibration in the human male voice, that is then amplified by a pyramid, and focused to the size of a tuning fork split end tip by inserting the split end of the tuning fork into a resonance bulb that's suspended from the ceiling. This method of utilizing the human male voice as a powerful cutting tool is hinted at in the Dendera depictions, but it's not the only usage of this technology. The snake is a representation of this system by resembling what a tuning fork would look like. Along with many different metaphorical meanings, the practical addition of the snake to the Dendera depictions is a representation of the system I just described. It should be of note that the hierarchy taught this to me during my realization. I was not aware of this usage while determining what a holy grail was, nor was I aware of the usage of Pyramids for this purpose, nor did I understand the complexity of the Dendera bulb hieroglyphs. This is also the main reason why I do not like to call this an "invention." I still do from time to time just to quell questions that arise from using similar nomenclatures that spark repulsion in whomever I'm talking to. Humans do not "invent" anything; they just exploit aspects of the environment that they were born into. 


The second usage of this technology is how I came to discover the actual holy grail that I made a blank for. This is a method that does not specifically require a pyramid (although using one would make the grail enormously more powerful), and is the most material efficient/cheapest to make, transport, and use the system of harnessing the power of the human Male voice. The holy grail has a staff attached to the base of the bulb. The staff can be short (as was the case with mine) or very long. At the base of the staff any number of tools can be utilized for cutting stone. The most frequently used tool in ancient times utilizing this depiction of a resonance bulb was for quarrying. A long staff was fixated to a bulb and at the base of the staff a clamping structure was cast to hold a diorite ball, or to clamp onto a stone itself. This is why protrusions of foot-like shapes exist on megalithic structures throughout the ancient world. In one case the diorite ball would be the cutting instrument, and in the other case the stone being clamped onto would shape itself to another stone. Sacsahuaman is a good example of clamping directly to a stone for shaping in place, and there are several examples of using a diorite ball to quarry megaliths in Egypt's ancient quarries. There is a third usage for this structure of resonance bulb/holy grail. When large spires, wall placed blocks, and obelisks are transported to a final resting place, and the goal is to adorn the structure in teachings, writings and pictures, the stone is placed on its side on the ground. Then the holy grail (exactly how I built it with a downward facing artistic depiction) is placed on the megalithic stone and carved using singing. There is cribbing required to keep the grail in place because the vibration would offcenter the plate. This is the most difficult, time consuming, and precise way of utilizing a resonance bulb/holy grail. The quarrying, transport, and adornment are required to have a makeshift temporary structure built around the bulb when being resonated. This means the quarry would need these structures, as well as the resting place. Plus the labor force would need adequate housing, water and food while quarrying, during transport, adornment, and placement/erecting of the stones. This usage requires the the most skilled and informed labor force, and they would need to be attentive during every operation of the entire process. Precision and attention to detail are a must for using this technology in this way, which is exactly why I started with this section of the technology. In theory, if this methodology is mastered, the other methods are easy in comparison. 


The third usage of the resonance bulb is setup on the Dendera hieroglyphs as it's drawn. Why? Because that's how that exact hieroglyph was made. This method uses all of the aspects of the holy grail (voice, resonance, vibration, gravity, acoustic propulsion, and possible cavitation) but also requires no cribbing. Instead of cribbing, and fulcrum is placed along the curved staff. The fulcrum is not visible in the Dendera depictions, but the curved staff is. The idea is to place the fulcrum where the weight of the resonance bulb and staff outweighs the rest of the staff and the plate. Think of a teeter totter where one side has a person on it, and the other side is empty. Instead of the empty side sticking up in the air, a stone is placed where a protrusion of it contacts the teeter totter and holds it in place with tension against the stone from the imbalance. With the weight against the stone, the bulb resonates creating vibration and acoustic propulsion to etch the depiction. The acoustic propulsion would force more pressure, the weight of the object would sustain the pressure, and the vibration would do the cutting. This method is less incumbent on using cavitation because the amount of water necessary to submerge the entirety of the plate would be significant. It's not impossible, but unlikely. This would also cause a scenario where several plates might be necessary, as the direct contact between the plate and stone would cause more wear and tear to the plate, as opposed to using water and cavitation as the primary etching force. So, why do this instead of using the holy grail cavitation method first? If the structure is already built, and the adornment is an afterthought, this is the most efficient method. The fulcrum itself takes the place of cribbing as well, meaning that once the bulb, plate, and fulcrum are set up, all one has to do is sing. Less attentiveness, less labor, and the careful nature of protecting the adornment while constructing the building is unnecessary. 


As you might be able to tell on second glance, in between the first and second Dendera depictions, a correction was made. There seems to be a stone that was cut and fit into place because of some kind of damage that was sustained (I'm guessing during the etching process itself). There could have been a few different reasons for doing this: damaged during etching, damaged after construction, or some odd event otherwise that made the damage. As I described above, the method for etching on a perpendicular surface to the ground happens when the structure is already built. Instead of tearing down the entire hall of stones, the men made a decision to cut out the damaged section and replace the hole with another stone. This wouldn't be a difficult task given the tooling available to build the structure itself. That's why the upper portion of the block the human is on looks chipped. My assumption is that chip was much larger and deeper below that flaw. There would be no difference to etching the hieroglyphs over the replaced section because both stones are made on the same material. It does however elude to the reasoning that water and cavitation were not the primary force behind the cutting instrument, and/or while setting up the bulb, plate and fulcrum, something went wrong or gave way. This would have slammed the weight of the entire apparatus (possibly thousands of pounds) directly into that specific region of the stone where the hole was filled in. I'm using my skills of deduction, reverse engineering, and my knowledge of the resonance platform to investigate this answer, mind you. I did not see any major calamities or mistakes taking place during my realization trips. I'm just observing and relaying my best educated guess. For all I know that could be a hiding place for some ancient scroll or other trinket. I doubt it given the placement of the damage, but anything's possible. 


One of the aspects of this that's rarely asked to me is how I know that the entire depiction is made in one simultaneous cut, as opposed to slowly chipping away each individual figurine, bulb, snake, etc. As you can see from viewing the depictions at distance is that the depictions have a rectangular border around each one. There's a difference in size between the first and second at the bottom of the borders. That's one clue, but there's more that eludes to the synopsis, as well as gives definitive evidence for what the plate itself was made out of, AND how the plate itself was made. Beeswax was the preferred pre cast material. It was abundant, easy to collect and refine, and very easy to draw on/sculpt. As you can see by getting close to the depictions themselves, at the deepest sections of the depictions, there are wavy and imperfect dents and blemishes. These same blemishes are not present within the defined figurines in the same manner. This means that before the drawings were carved, the surface of the entire plate was imperfect, as would be the case with a large pan full of cooling beeswax. After the cooling, sculpting, and refined the entire plate would have been cast in a slurry. That slurry material would then be dried and baked as is the case with the lost wax method. This would have preserved the original imperfection of the cooling beeswax, then transferred it perfectly onto the stone. That essentially proves that not only was the entire depiction made in one shot (as opposed to individually carving each figurine), but also that the material to cast the plate was made of something that cooled imperfectly: beeswax. If what I'm saying here is incorrect, one must deduce why the deepest sections of the depictions are not perfectly level (as would be the case if the entire hieroglyph was chiseled by hand one figurine at a time), as well as describing why on the outer perimeter there is so much negative space between the figures and border of the depictions. Individually carving each figurine, this would be an enormous waste of time, effort and energy. However, using the bulb, plate and fulcrum method, creating a solid rectangular frame for the plate pre cast is the most efficient form of production. It's just interesting to me that nobody has really questioned this particular issue to me. In reality, people are generally content just stating that they don't know how it was done, and that seems to be good enough for them. However, these intricacies of the system I profess are glossed over by these same people, and the intricacies themselves have the ability to make the biggest impact on their misunderstandings. Just saying... Nobody has ever brought that up. Hopefully it helps. 


As for the opening of the grail, as I explained earlier, the bulb in the depictions is upside down, as would be the case if they were being used in conjunction with a pyramid. The opening of the bulb is next to the giant's hand holding a lotus flower. I'm not sure what the significance of the lotus flower is, but it should be noted that I was growing lotus flowers in my koi pond when all of this began. I had no reason for growing them outside of the fact that they gave my fish protection and shade, were going to supply bees with pollen, grew in water and were aesthetically appealing with the ensemble of various other plants that were planted around the pond. I was going for a maroon, red, purple kind of motif to accentuate the greens from the Japanese maples. I did not, and still do not know the significance of why that particular flower was used. Besides the point, the bulb is open, but the opening is covered with a flower.


The shape of the bulb's opening has to do with the vibration. You can check this on an ordinary water bottle. Blow across the opening to find the Hemholtz resonance. The smaller the opening, the deeper the resonance will be. In ancient times, as I discussed with you in the hotel room, and Shane and I contemplated trying on our own to attempt saving time and increasing efficiency, the walls of the bulbs were made almost parallel with the widest portion of the bulb. On my blank, I made the slope convex gradually to the opening which makes it look trapezoidal from the profile angle. The ancient bulbs were made so the profile (before refinement) would appear a lot more rectangular in appearance. Of course those ancient bulbs are a lot larger, so from a purely practical perspective, the cast mold would have been more efficiently made by sculpting the walls as parallel. After the bulb was cast, the opening was shaped to be much more narrow (by the method I showed you in the hotel). If you look closely at the Dendera depictions right next to the lotus flower, you can see this sudden turn inward. On my plate, I corrected the top of the bulb's shape by sharpening that angle. It was correct on the bottom, but the top was haphazardly drawn (probably because the artist was not entirely familiar with the technology, and was just an artist). Anyways, as I described, there are three methods for using this technology, but put yourself in the artist's mind; how would you draw a picture trying to convey all three methods of this technology, and who/what was responsible for teaching it to us, all while keeping the depiction as efficient as possible, AND while hurrying to complete the project? Now that I understand fully what's being conveyed, I compliment the extremely intelligent way in which that was created to convey the message being taught through many versions of civilization and history. The advent of lightbulbs is what confuses modern humans. That's literally the only confusing aspect, and lightbulbs have only been around for 140ish years. These depictions are 36,000 years old... Something to consider when contemplating why a modern human equates confusion as to why the resonance bulb structures resemble lightbulbs. It's quite arrogant and stupid to equate those two individual objects, but that doesn't stop academia blowhards from doing that, as well as the numerous other conflated issues arising from the superiority complex enamored arrogant modern mind frame. People desperately want to think they're advanced, so they search for similar objectivity related to modern Satanic creature comforts. 


The giants in these depictions are direct descendants of the Amen. For all intents and purposes, they are basically Amen themselves, but their genetic structure was formed to exist on planet Earth. I do not know exactly what specifics were altered from the superior Amen structure from their home environment, I just know that the actual Amen (that live in their home environment) are not identical to the giants that were on Earth in ancient times. The Amen also created Yews with the help of the giants that were already here. It was a collaborative effort by them together to create Yews. From what I understand of it, Yews are the most optimal and efficient structure for "men" on Earth, but were lacking the ability to reproduce. Humans came next. There is some confusion about this, though. For a great many millions of years, Amen seeded Earth with the ability to produce upright hominids through evolution. When modern humans were "created," the already existing genetic code from the seeded upright walking hominids was the base material. Modern humans being created (as I commonly say) is the same as saying upgraded genetically. When that upgrade took place, an entirely new species was born into existence. I'm unsure if the seeded upright walking hominid genetic material was used to create giants and Yews, but I'm fairly certain that was the case. There are many factors that go into creating a species that can survive on a particular planetary environment. Humanity is millions of years away from being able to discern those factors to the point of creating a sustainable species in a foriegn environment to their own. The Amen however, have had that ability for billions of years, and have accomplished that goal billions of times over. That said, I'm a Christ for humanity, not the Amen. Although that type of information would have been extremely interesting to me personally, it had no bearing on my mission, so I didn't inquire beyond the general overview of my mission parameters. I get it, though. All things considered, this is very intriguing subject matter, but first you have to ask yourself while contemplating these abstract notions beyond the boundaries of mission parameters relating to humanity's current Devolution conundrum: what difference would it make if you had definitive knowledge related to Amen, giant, and Yew genetic manipulation science, if you can't even obtain transcendence for your own species, on your own planet? Those were the thoughts I had while going through my realization. Maybe I'll be a Yew to a different species of man further into my soul's existence, maybe I'll be a giant, maybe I'll be born into Amen society, maybe... just maybe I'll transcend beyond the third dimension into humanity's maker's civilization, or beyond. It's a possibility. BUT!!! That's not the mission now. Baby steps; first things first; and so on and so forth. I'm not trying to squash goals for transcendence; I'm just trying to keep you (and possibly your friend) grounded in the here and now predicament. These would be fascinating conversations to have around a campfire at the base of a completed pyramid on a sustainable farm, surrounded by like minded pure people, though. Wanna know why? More than likely... because the beings you're contemplating about might show up and explain it to you themselves. Now that's a goal! All I know is that those beings don't give a fuck about conversing with an uppity, arrogant, race mixing, competitive, PhD student driving a Mercedes, living in a domicile slated to be landfill waste in less than a century of Earth time, bragging about knowing some shithead who wrote a book about Khazars "slaving away" to build a pyramid as a tomb to a shitskin Arab usurper. And that, my friend, is exactly what modern humans strive to be now... then they wonder why they're always "stuck" wondering and contemplating abstract notions beyond their capacity to handle the information. /rant (heh)


From what I understand of it, the head coverings are insignificant beyond hearing protection, and an elevated ability to use internal harmonic resonant capitulation. There is usage of hair that stimulates and makes that ability easier. I'm unsure of the particulars: length, color, shape, etc. All I know is that having longer hair is beneficial. Otherwise, Yews and humans needed to protect themselves from the resonant capabilities of giants by keeping hearing protection available to them when giants were "helping." The idea was to procure these abilities for humans, but on several occasions the giants did help (sometimes I refer to this as cheating). On those occasions Yews and humans needed to protect themselves, otherwise the eardrums would get destroyed and on rare occasions the heads of the unprotected would cave in. I know, sounds morbid and gruesome, but there were times where those mistakes happened. It was rare because in order to harm a Yew or human in that way, amplification and focus of the frequency was necessary, and the Pyramids were not built to house giants. Outside, where sound waves dissipate into the environment, the threat was not a concern. 


The "osiris backbone" is the reed structures in the king's chamber of the great pyramid. They have a similar function to a flywheel on a modern pulsed electric motor. The goal is to use the stored kinetic energy within the flywheel's weight to amplify/bolster the force of the motor itself. In using flywheels, there's many ways to amplify this energy pattern. One of my favorites is "the living energy machine."

Here's the video...

As you might be able to tell from the video, there's an off balance weight to the three geared flywheels. These wheels are timed to coincide with the center of the shaft creating a significant and sustained centrifugal thrust on the outward cycle. It behaves with the same strategy as a tilt-a-whirl ride where the angle matches your ability to spin the ride's car. If you time the spin correctly, you can really get that car rocking and rolling. If you watch the end of the video after the mechanism is constructed, you can see that the operator is timing his thrusts to the centrifugal force on the outward stroke. It only takes a slight bump to get those flywheels spinning at an extremely rapid rate. This is the philosophy behind flywheels: storing kinetic energy to be used when the primary thrust is pulsed, intermittent, or outright stops. The flywheel is there to help amplify the inherent ability of the system. The "osiris backbone" is made for this same purpose. The stone slats of the king's chamber resonate with the entire pyramid, which then transfers (while amplifying) the the vibration inherent in the human Male tonal frequency... in exactly the same fashion as a flywheel on a modern electric motor. The "osiris backbone" IS THE ACTUAL amplification tool. The Pyramid focuses the energy in the voice, but the "backbone" amplifies it. 


The reason why the hands of the backbone are external to the bulb in the second depiction is because that's when the great pyramid was being built. By the time it was completed, the Yews had purpose and harmony, women were created to sustain progeny, and all aspects of the creation of Earthbound humanity was complete from the giant's/Amen's perspective. Once the Pyramid was complete and all inhabitants knew their respective roles, the backbone's hands (as was shown in the third depiction) were contacting the snake. This was symbolic, metaphorical, and physical. Symbolically and metaphorically because the groundwork was complete to keep Satanic energy at bay. As long as the Pyramid stood, and the technology was in use, Satanic platforms of energy usage was rendered unnecessary. Physically because as I explained earlier about the usage of tuning forks within a pyramid and bulb enclosure, the addition of the Pyramid itself to humanity was a significant step up in ability. Remember, the great pyramid was the actual tool itself that built the other two Pyramids, as well as the entirety of (the real) ancient Egypt. It was the actual workhorse responsible for creating everything there following. It's like being a machinist with nothing more than a hand crank drill, then using that hand crank drill to build a massive brand new Bridgeport mill. Your ability would multiply enormously and suddenly. And thank you again for making it possible for me to use that reference. If I had said what I just said to you last summer, it might not have landed the same way it just did. You do actually completely understand the reference now, and for your efforts to get to that precipice, I thank you again, young lady. 


Wow. That was a fucking long "1"... I'm going to wrap it up now, and hopefully I've answered the questions to yours and your friend's satisfaction. Let me know if I left anything out. After all, this is my favorite subject! Thank her for me for her interest. Or I guess you could just show her this email. I mean, I didn't even say nigger in this "1"... OOPS (not really, heh). Take it easy and I'll talk to you later. 




The circles I added to the first two images contain the rectangular stone block which was cut out and replaced, presumably due to flaws in the original engraving in that area.

In the last two images, the grail is secured on a lathe.

Dendera Bulb Hieroglyphs, #1 and #2:

Dendera Bulb Hieroglyph, #3:

This drawing depicts the bulb balanced on a fulcrum:

The Holy Grail: