The ancient city of Beijing, literally 'Northern Capital', is the last of the four great ancient capitals of China. The vast city was expanded during the Ming dynasty in the early 15th century - the era of the founding of the famed Forbidden City and the Temple of Heaven complex. The layout of the monuments, and especially that of the Forbidden City follows a cleverly designed grid-like pattern that was meant to reflect harmony and order between the various aspects of life.

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The city had been divided into a square-like northern part centered on the Forbidden City and a rectangular southern enclosure including the Temples of Heaven and Agriculture, the temples within the green areas on the image above. While the precise orientations filled with subtle meanings have been known for many years I believe a crucial part of the purpose for the grandiose layout was overlooked. There are clues that suggest it was not only the Forbidden City and the Imperial palace within that were officially meant to represent a specific star (called the 'Purple star') but also the individual temples of the Temple of Heaven complex - and the whole 'blueprint' was to be interpreted as one single message. The name 'Temple(s) of Heaven' can also be seen as representing 'star temples' after all.

Contrary to the mainstream view which favors the idea of the city linked to the 7 stars of Big Dipper, the temple cluster appears to mirror the 7 star cluster of Pleiades instead. I think the association of the layout with the polar area of the sky, namely the Pole star and Big Dipper was a second sacred theme running parallel to the Pleiadian star map which was possibly the main reason for building the Ming dynasty monuments.

The temples of Heaven were joined to the Forbidden City by a central way, and it almost beckons one to look for a specific star in that direction 'below' Pleiades - this star is referred to as the Secondary star. Together with another great monument of Beijing, the Arsenal highlighted in pink, the greater layout duplicates the ancient star map found in all cultures to date. The Arsenal coincides with the star titled as Primary star in the ancient star charts.

Compare the star map above to the layout of Beijing below.

It seems the Chinese dynasties favored the Secondary star in place of the Primary one. While most European and Middle Eastern traditions point to the Primary star as the most important one out of 3 sun-like stars identified near the Pleiades, they all recognized the importance of the Secondary star too, as this system is the one that appears to represent the first place of emergence of our modern human form. More on this and how it was portrayed in Beijing is to follow in the coming paragraphs.

The Tertiary star, the third of the 3 sun-like stars needs to be mentioned too - it seems to have its counterpart monument and in the right position. The Vault of Heaven, placed in the Temple of Heaven cluster, is a special round marker with a crescent shaped wall running around it highlighted in pink above. It houses the tablet of God of Heaven and is sacred (source)

The seven star stone near the Temple of Heaven


One of the major clues to link the Pleiades to the Temple of Heaven grouping is the so-called 7 star stones placed directly by the side of one of the star temples. It is a collection of 7 mountain shaped stones that were based on an older tradition of venerating seven peaks or hills, a theme present in many old European cities too, notably in Rome, Athens or even Istanbul. I'm convinced it was introduced as a worldwide tradition in the very ancient past and was meant to represent the earthly equivalent of the 7 stars of Pleiades as part of ancient star maps. (source)

An interesting aspect of the stones is that there are eight even though the cluster carries the name '7 star stones'. The creator of the monument might have had knowledge of a 8th star of the cluster that blinked out, something recorded by several early cultures. (source - paragraph 'The Flood' in the Book of Enoch)


As briefly explained earlier, the Forbidden City was meant to express subtle connections between the many aspects of life, workings of the sky and the human and natural world below the heavens. What stands out special is the references to it representing an actual human body in the image of a master planned city - as a quote refers to it:

"The Forbidden City represents the viscera and intestines; the outer walls serve as the head, shoulders, hands and feet; and Tiananmen Gate is the protective tissue to the heart" (source)

I believe this is to be taken literally, albeit in a symbolic way and this figure is present if viewed from high altitudes. The great entrance way leading to the gate of the city and the artificial hill cluster on top act as the legs and head, the latter joined to the city by a bridge that matches the neck.

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The figure is 'crowned' by the famous 5 artificial hills to the North which also represent its head. This is a massive clue as number 5 is deeply tied to the 'human form' found in other star maps - the legendary monuments of the Silla Kingdom in nearby Korea also feature 5 artificial mounds to represent the same sun-like star near the Pleiades in another grand star map on the ground. In both cases the sun star to have the human form reference was chosen to be the Secondary sun star, as seen here marked by the Forbidden City.

It was Wayne Herschel who first deciphered the puzzle of the human form tied to the star maps. He called it the 'human codex'. It is either a stickman-type figure (with arms outstretched or not) or a sometimes elongated pentagon or pentagram that is produced by joining the tips of the four limbs and head - the sacred 5.

Another interesting aspect of the figure is the nearby lake running along the sacred city. There used to be 3 islands in a row in it, today two of them remain and a small peninsula in the middle to remind one of the former central island. The three are present on the old maps and were marked on the opening map on this page too. I propose that the 3 isles were designed to mirror Orion's Belt, 3 stars in a row that point the way to the sacred area of the sky near Pleiades. If interpreted in the context of Beijing's human figure the 3 appear as a spear making the figure the famous 'Orion Man', the hunter chasing the 7 maidens of Pleiades.


Besides the intricate details Beijing seems to display and even more complex astronomical design. The Ming era builders included three additional temples dedicated to heavenly bodies to complete the master plan. Two of them, the temples of our Sun and Moon were placed in a symmetrical way next to the walls of the extended city.

If the city was, indeed, intended to represent the ancient star map, then the placement of these monuments fits perfectly. It is known that the ecliptic, the apparent line along which the planets move in the sky, runs next to the Pleiades and our sun and moon regularly pass this area sometimes even occluding the seven stars. This is impossible for the Big Dipper though as its stars are far from the ecliptic but it does work in the case of Pleiades.

It even shows that the Forbidden City and Imperial Temple were never intended to represent our sun and moon either but a star (like our sun) along the ecliptic in a very specific location. The four sides of the city match the four cardinal points too and the direction of the Temple of Sun marks the eastern side as one would anticipate. It also makes sense why a part of the Temple of Heaven complex was called the Temple of Agriculture as the appearances of the star cluster were widely known to mark seasonal changes important for cultivation.

As strange as it sounds a major piece of the puzzle is yet to be covered - part of an annual ceremony, the royals sacrificed and burned bulls in the Heaven complex right on the platform of one of the star temples. This was an important rite and had very ancient roots. This virtually unknown ceremony may hold a key to understanding the magnitude of the star map - the worship of the cow or bull used to be a global obsession reaching to the Far East too. It is identical to the practices of the Semitic traditions and the memory of the Golden Calf, in a culture where the 7 sacred candlesticks of the Menorah represented 7 heavenly lights, the stars of the ancestors. (source)


China ties its own beginnings to the mythical Fuxi and Nuwa, the Eastern counterpart of Adam and Eve. Not only they were associated with an ancient flood but the scrolls found in the Astana graves reveal some startling connections to a specific star cluster. The scrolls above depict the couple 'riding' what appears to be a skirt-like disc rising from serpent bodies similar to Indian depictions. The snake or dragon aspect is to be discussed in the following paragraphs.

The remarkable detail here is the close association with a (seven) star cluster highlighted in blue. It seems the creators of the scrolls found it important to include the cluster on both famous depictions and being a tight grouping of seven or nine it can only be the Pleiades. This deduction is in agreement with the official note that the seven stars were recorded as early as 2357 BC in the Chinese annals.

The exciting part is the presence of 2 little radiating suns. If the scrolls depict a night scene with stars and constellations, it shall be interpreted as a star map and our sun and moon don't fit in this time. Moreover, both tiny suns are surrounded by many dots which may suggest the suns were meant to be part of the starry sky or more specifically, part of a star cluster. This way the 2 suns do fit the star map blueprint, two sun-like stars near the Pleiades. Curiously, one of them was depicted in a strange fashion as a closed or sickle crescent, a shape favored by the Sumerians too and a shape only possible for a planet in transit in front of its sun.

Interestingly, the tools in their hands bear an uncanny resemblance to the Masons' square and compasses. It implies that something important in the sky is being measured, probably related to finding the sacred stars based on certain distances, a cryptic tradition first cracked by Wayne and released here.


Speaking of the dragon or snake tradition, it is a theme not restricted to China. Cultures all over the globe passionately speak of deities 'riding' or controlling a heavenly serpent, sometimes depicted with wings to express the ability of flight. Chinese, Mesopotamian and Central American people all recorded this knowledge and the graphic above speaks for itself.

This 'vehicle' of the Gods was shown as a tube-like formation and Mesoamerican carvings even show the visitors 'popping out of the mouth' of the flying snakes. Egyptian tradition directly places them between the stars, coiling from one star to the other. Wayne theorized it first that the cosmic serpent represented a conduit, a wormhole as we call it today, also named after a tube shaped animal.

On the graphic, all the three depictions include a mysterious tool used for controlling the 'vehicle' - it looks like a spear in each case. 'Defeating' the snake probably referred to controlling it and the tool could function as a device to open the portal. The Chinese depiction on the right is particularly interesting. It is a very old depiction from the Zhou dynasty, 6th century BC and shows the person in the company of a strange dark flying disc. (source)


Chinese legends mention that many eons ago there existed mysterious vessels known as the 'tripods'. Later dynasties were inspired to keep recreating and using the sacred bowls until it became part of their daily lives. The bowl supported by three legs is known even today by the name 'Ding' vessel.

While it may seem to be an ordinary holder with no particular oddity to it, the historical accounts suggest it used to be something extraordinary. However, as it happened to many artifacts, it lost its original function and became an object of mere 'veneration'.

The story of the Ding goes back to the mythical times of Huang-di, the Yellow Emperor, 2500 BC. The scripts recite that many later generations stumbled upon the magical vessels of a past age and that these bowls, which used to be huge in the beginning, possessed 'intelligent', mechanical properties. It was able to move or be at rest, could be heavy or light, descriptions that suggest it could be a vehicle that landed on its three legs at will. Being 'light' probably meant it could 'lift off' the ground so one touching it would not have felt its weight.

It was also reported that the 'device' appeared at notable events like the rise or fall of a king and in one case it was surrounded by a thick yellow cloud.

The graphic above shows what the original tripod could look like, taking into account all the puzzle pieces and with a covering lid added to the 'bowl'. It is what we call a UFO today. The legend actually states that when Huang-Di left this world he cast such a craft and a mysterious dragon appeared to take him and his followers, former celestial beings in an event that was witnessed by thousands. (source - pages 92-95)

Read more about a similar ancient craft on page Korea



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