Halo (Jesus)
A visual of the artistic and conceptual five-thousand year jump from the original model of the Egyptian god Horus (3100BC), carrying the sun or "sun disc" on his head, to the Christian man-god Jesus with "halo" behind his head. In short, the bird is the god Ra, generally, or Horus or Ra-Horus (aka Ra-Horakhty, "Ra, who is Horus of the Two Horizons"), depending on time period of supreme god syncretism and worship, carrying the sun disk on its head.
In religio-mythology, halo (TR:50) is a circular or ringed artistic representation, often seen "behind" or "above" the head of semi-modern religious figures, or angels, of what was formerly the sun or sun disc (or sun god), carried by a bird, e.g. the phoenix, or other animal, e.g. scarab beetle (see: Khepri Ra), on its head, in its perceptual journey through the day sky, viewed in the context of geocentrism, i.e. the sun going around the earth or flat earth cosmological model.

In 1900, Gerald Massey, in his "The Historical Jesus and the Mythical Christ", outlined some type of sun disc turned halo historical. [3]

In 2000, James Arthur, in his Mushrooms and Mankind, mistakenly asserted his belief that the aura around the head of Jesus was a “mushroom cap”. [1]

In 2004, Libb Thims, in chapter "Thermodynamics and Religion", stepped through the following visual timeline of how the Ra sun god model, of a bird carrying the sun on its head, morphed over time into the model of a halo above the head of angels, Jesus, and other modern religious figures; images 9, 12-13 show, to note, the moon as a disc carried on the head of a baboon or the god Thoth:

Halos (1-13)

This was followed by a period of anthropomorphizing, during the early rise of Christianity (350BC-780AD), where the animal gods began to be re-written as god like humans, angels, and demons, during which period the sun disc began to move behind the head, rather than on top, as depicted at the Roman Catacombs, the Apocalypse of Beatus, and the c.450-550 Mosaics from Ravenna (14-17), this change in effect acting to loose resemblance to its original "carrying" aspect as a solar disc; in the years 1295-1430, a number of artists, such as Cavallini, Cimabue, Giotto, Fabriaon, and Duccio, began to incorporate a "cross" depiction inside of the sun disc (19-20), thus, unknowingly or not, intending to represent the stellar configuration known as the "Northern crux" visible at the time of the December 25 birth of the sun.

Halos (14-22)

Somewhere in the midst of this Egyptian-to-Christian conceptual transformation, in the years 1000BC to 1000AD, a number of middle eastern and eastern religions (Hinduism, Buddism, Zoroastrianism, and Shinto) began to incorporate the halo-sun disc model into artwork (23-27); in the years 1438 to 1516, a number of artists, indluding Masolino, Angelico, Lippi, Mantegna, and Bartolommeo, began to depict a shifted or slanted forward sun disc (28-33), the result of which transformed the original vertical forward-facing sun disc into a hovering horizontal stylized halo; Jacopo Tintoretto's 1547 painting of The Last Supper (34) depicts a sparkle like halo; in 1600, the Sikh religion began to adopt the halo model (35-38), the same for the Jewish halo of Abraham (39), Confusius (40), the Islamic halo of Adam (41), the Jain halo of Tirthankara (42), the Sufi halo (43), the 19th century Theosophy halo showing the charka points of energy (or universal life force), right up to the adult-sized "angel kits" one can purchase at places such as StarCostumes.com; culminating with the famous crown of thorns (corona of sun rays) depiction of Jesus Christ in the controversial 2004 Mel Gibson film The Passion of Christ. [6]
Halos (23-46)

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Corona Borealis
A depiction of the "crown of thorns", on the head of Jesus (Osiris-Horus), behind which is the halo (sun disc), said to be representative of either the Corona Borealis or the rays of the sunlight, depending on opinion.
Corona Borealis | Thorns
In 1843, Jean Ragon, in his The Mass and the Mysteries, in respect to the so-called “crown of thorns” worn by Jesus, asserted the following: [5]

“Like the pontiffs of Isis, the priests of Moses had to wear a second very ample robe beneath their white robe. It was called a cope (1), and came down to the feet, around which were attached 72 little bells made of gold intermixed with woolen pomegranates of different colors. Among the Egyptians, these reflected the 72 murderers of Osiris; it was the number of thorns which had made up the Corona Borealis and that crown, corona, placed on the head of Jesus.”

In 1916, Swiss psychologist Carl Jung asserted that the "crown of thorns", famously worn during the crucifixion of Jesus, is actually a representation of a "solar corona", so as to represent or reenact the birth of the sun (or sun god). [1]

In 2000, Jordan Maxwell, in his chapter "The Solar Cult", of his That Old-Time Religion, asserted his view that the thorns worn by Jesus, as he depicted below, were representative of the rays of light from the sun. [3]
Solar corona cross (Jordan Maxwell)


1. Jung, Carl. (1916). Psychology of the Unconscious (pg. 500). Publisher.
2. Arthur, James. (2000). Mushrooms and Mankind: The Impact of Mushrooms on Human Consciousness and Religion (pg. 3). Book Tree.
3. Maxwell, Jordan. (2000). That Old-Time Religion: the Story of Religious Foundations (§:The Solar Cult, pgs. 35-54). The Book Tree.
4. Thims, Libb. (2004). Human Thermodynamics (Volume Three) (§22: Religion and Thermodynamics II, pgs. 611-62). 330-pgs. (un-finished manuscript) Chicago: IoHT Publishing.
5. (a) Ragon, Jean-Marie. (1843). The Mass and the Mysteries: Compared to the Ancient Mysteries (pg. 29). Publisher.
(b) Jean-Marie Ragon (FrenchEnglish) – Wikipedia.

External links
‚óŹ Halo (religious iconography) – Wikipedia.

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