Loin des sources françaises sur l'histoire de l'Afrique du Nord et l'antiquité du Tifinagh :
Il s'agit d'une recherche étrangère anglaise sur la mythologie et les symboles anciens, dans laquelle il parle de l'ancien alphabet libérien (tifinagh), qui a été retrouvé dans la pyramide de Khéops en Egypte par les méthodes d'une équipe de recherche américaine en 1986.
L'auteur de l'article le renvoie à 12 000 ans avant J.-C. Nous répétons et répétons douze mille ans avant l'apparition des Phéniciens sur la scène de l'histoire par des milliers d'années et avant l'apparition de la lignée Musnad et Thamudi par des milliers d'années également. .
Representations, in Val Camonica (Italy), of figures in attitude of pray, or perhaps of endure a weight or load (type "atlante"). Note the similarity with a graph of the"tifinagh" writing, characteristic of North Africa (see below). See also that this figure is associated to the labyrinth (which in turn is linked to the Mother Goddess).
It could be objected that Hercules went to the country of Hesperia (Spain, Canary Islands), located in the West. But not all the ancient mythographers agree. According to Apollodorus (II, 11): "When the works [of Hercules] had been executed... Eurystheus commanded Hercules, as his eleventh work, to collect the golden apples of the Hesperides... These apples were not, as some say, in Libya, but in Atlas, among the Hyperboreans".
Isn't it more logical to think that the place where Atlas held the sky is the pole, not a more southern latitude? That is what we can see in the mosaic of Ostia of which we have already spoken of. It is very possible that the ancient (Romans and Greeks) associate the notion of centrality and Pole to the esvastika, because they shared the vision that Atlas was in fact in Hyperborea (North end), not in the Hesperian West.
Whatever it is, I think I'm able to prove: 1) that the symbol of the esvastika is very ancient, contemporary perhaps to the end of the glacial era, about 12,000 years ago; (2) its universality is explained by the mythical passage that the Hebrews called Exodus, which would coincide with the dispersal of the survivors of the primordial civilization that coined this icon; (3) the esvastika would allude to the flood, or to the end of Atlantis (a-tla, do not hold).
In this way, the flexed knee, in the form of gamma (Γ), that rotates around the pole (i Hercules), would be a reminder, for later generations, of the end of a cycle, and of the beginning of a new era. This is why, according Guénon, the meaning of the esvastika goes far beyond its association to the Sun, "good luck", or "welfare". It is, undoubtedly, the fundamental symbol of the Primordial tradition, and the occult treasure of true initiated men and women (not only the Freemasons).
Unfortunately, the nazis made the esvastika a fetish of their particular aberrations. Time, and the knowledge of the precise facts, have put each one in place; and have cleaned this venerable symbol of the slag of its abuse.
Note again the glyphs of the "virgulae" in the pyramids of Khufu (Cheops) and Khafre, on the Giza plateau. If my theory is true, these "vírgulae" could represent, in fact, the "knee of Hercules", that rotated (12,000 years ago) around iota Hercules. That could mean two things: (1) in the moment in which these pyramids were built, there existed the memory of the flood, associated to that date; or (2) the pyramids were built on that date, constituting the "knee of Hercules" a sign that would clarify its dating (supposedly, 12,000 years back).
Is this nonsense? It would be if there were no other collateral evidences which could claim this possibility. The main of them is the existence of an inscription, in alphabet tifinagh (or Libyan), at the former entrance of the pyramid of Cheops (usually called "Syrinx", with the nickname of "luminous horizon"). To my knowledge, few scholars have attended to this curious circumstance. .
Inscriptions on the ancient door of entrance of the pyramid of Cheops. Compare it with the old tifinagh writing (up to the right).
The tifinagh inscriptions in the Tassili, in the center of the Sahara, are accompanied of curious drawings of a culture very flourishing, dated some 9,000 years back (according to the antiquity of its pottery, of the VIII Millennium aC.).
In the center of the Sahara inscriptions can be found in tifinagh writing accompanying petroglyphs and paintings alluding to a cattle culture highly evolved, as seen in these clothes and hairstyles highly refined. This civilization had to exist before the climate change which produced the drying of the Sahara. Around 9,000 years ago, this area was made up of vast plains, favorable for a cattle ranching (which could have contributed to the drying of the area), with a profusion of rivers and lakes.
The paintings of the Tassili allude to a highly refined culture.
The culture of the Tassili was specialized in livestock farming.
The culture of the Tassili flowered 9,000 years ago (and even before), when the Sahara was a large meadow surrounded by rivers and occupied by vast lakes.
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