June 19, 2025 • 27 mins
The Kailasa Temple in India is one of the most mysterious structures on Earth—carved downward from a single mountain, with no inscriptions, no tools, and no known builder.In this episode of The Anunnaki Connection, we ask the questions mainstream archaeology avoids:— Was Kailasa a temple… or a vault?— Did ancient beings carve it to survive the Great Flood?— Is Shiva just another name for the Anunnaki god Enki?We follow the trail from Hindu myth to Mesopotamian memory—through flying Vimanas, divine hybrid kings, and apocalyptic resets.The story of Kailasa may be older than civilization itself.And what’s buried beneath it… may not stay buried forever.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hidden in the hills of Maharashtra, India, among a
series of ancient rock cut monuments known as the Allora
Caves, there stands a structure that defies logic, not because
of how old it is, but because itshouldn't exist at all.
Towering over 100 feet into the sky, sculpted with a level of
precision and artistry that stuns modern engineers, the
(00:22):
Kailasa temple was not built stone by stone.
It was not assembled. It was carved, excavated
vertically from the top of the mountain down out of a single
piece of volcanic basalt. A free standing temple complete
with pillars, sanctums, shrines,sculptures, stairways and
(00:42):
drainage systems, all carved from a continuous block of
stone. Over 400,000 tons of rock are
estimated to have been removed, yet there are no piles of
rubble, no construction debris, no carvings explaining how or
why, no written records, no inscriptions, no blueprints.
Just the finished product standing there in perfect
(01:05):
silence. Mainstream scholars will tell
you it was commissioned by Rashtrakuda King Krishna, the
first in the 8th century. But the math doesn't work, not
even close. At best estimates it would have
taken hundreds of years with thetools said to be available at
the time. Yet even by conservative
academic timelines, it was allegedly completed in under 2
(01:28):
decades. That's not just unlikely, it's
impossible. So what are we looking at?
A monument of genius craftsmanship lost to time?
Or the remnant of a civilizationwhose capabilities go far beyond
what we're allowed to believe? Local legend says it was built
overnight by a divine architect,either Shiva himself or the
(01:50):
demon king Ravana. But these are just myths we're
told, just symbolic stories to explain the unexplainable.
Maybe. Or maybe these stories are
fractured memories, echoes of something real.
Because when you stand at the foot of this temple and run your
hand across the stone, you don'tjust feel age, you feel
(02:12):
intention, you feel design. And you begin to wonder, was
this temple created or uncovered?
Was it shaped by human hands or by the technology of beings long
since forgotten? And if it was left here for us
to find, why? In this episode, we'll examine
(02:33):
one of the most mysterious temples on Earth and follow the
clues wherever they lead to ancient gods, cosmic wars,
flying machines, and flood mythsthat stretch across time.
Because some believe the KailasaTemple is more than a spiritual
monument. Some believe it's a relic, a
beacon, a marker from a time when the gods still walked the
(02:55):
earth. This is the Annunaki connection,
and the mystery begins now. Music.
(04:09):
According to conventional history, the temple was ordered
by King Krishna, the first of the Rashtrakuta dynasty, around
756 AD. The story goes that he wanted to
recreate Mount Kailasa, the mythic Himalayan home of Lord
Shiva, right here on earth. And so, using simple hammers and
chisels, a team of stone workersallegedly spent 18 years carving
(04:31):
it out of the mountain. That's the official story, but
it doesn't hold up. Let's do the math.
Over 400,000 tons of solid base salt rock would have had to be
removed. That's roughly 200,000 cubic
meters. If they worked non-stop for 18
years, day and night, that wouldstill require removing about 60
tons of stone every single day. Not shaping stone, not carving
(04:55):
decorations, just removal with iron chisels and hammers on
volcanic basalt. A stone so hard that even modern
machinery would struggle. And yet, not only was the rock
removed with unexplainable precision, the resulting
structure wasn't rough or basic.It was magnificent.
The Kailasa Temple includes 2 stories, a massive courtyard,
(05:20):
multiple shrines, complex drainage systems, suspended
bridges and sculpted reliefs that rival anything in Europe's
cathedrals. And it's all perfectly
symmetrical. Every pillar, every carving,
every shrine meticulously aligned as if done with laser
guided tools. But it gets stranger.
(05:42):
There's no inscription anywhere on the site crediting its
architect. No blueprints, no construction
logs, and no records in any of the major Indian texts from that
time. That's not normal.
In ancient India, temples were sacred expressions of divine
patronage. Kings would always inscribe
their names on such structures. Entire epics were written about
(06:06):
the construction of far less impressive shrines.
But kailasa? Silence.
It's as if it just appeared. And then there's the bigger
problem, the absence of rubble. If hundreds of thousands of tons
of basalt were removed, where did it go?
There are no nearby debris fields, no piles of waste rock,
(06:29):
no remnants of massive excavation.
Some researchers have suggested it was vaporized or somehow
melted away. Others believe it was removed
using technologies we've lost ornever had.
Ancient texts do mention beings with the power to cut through
stone with sound or raise mountains with a word.
(06:50):
Legends, maybe. But when the physical evidence
matches the myth, maybe the mythdeserves a second look.
Because what we're left with is this.
A temple carved with impossible precision out of a single rock,
built with unknown methods, lacking any construction trail
(07:11):
and bearing no name. The deeper you go into the story
of Kailasa and the more it begins to feel like a recovered
artifact, one that may not have been meant for us to understand.
One that whispers of something much older and much more
advanced than anything we've been allowed to imagine.
(07:53):
The official record says the Kailasa temple was carved around
756 AD, commissioned by a king named Krishna the first.
But the people of the land remember it differently.
One of the most enduring legendscomes from the Marathi speaking
villagers who live near Illora. It begins with a queen.
(08:13):
Her name is lost, her king gravely ill.
In desperation, she makes a vow to Lord Shiva.
If my husband is healed, I will build you a temple.
And I won't eat until the shikhara, the crown of the
temple, is complete. Shiva grants her wish.
The king recovers. But now the queen faces a new
(08:36):
dilemma. Temples take years to build, and
she refuses to break her fast until the tower is finished.
That's when the royal architect Cocasa, the Master of Stone, is
said to have done the impossible.
He orders the work to begin not from the base, but from the top,
(08:57):
carving down through solid mountain cutting stone with a
precision no one can explain. And by dawn the Shikara is
complete. The Queen sees it and breaks her
fast. That's the legend.
But here's what makes it more than just a story.
The temple really was carved topdown.
(09:17):
Modern archaeologists confirm it.
No other temple in India was built this way.
Why would ancient builders choose the most difficult,
dangerous and irreversible method?
Other versions of the story tellit differently.
Some say it was built by Shiva, that the temple is a copy, a
terrestrial echo of Mount Kailasa in Tibet, the sacred
(09:38):
peak said to be his divine throne.
Still others say the being behind it wasn't Shiva at all,
but Ravana, the demon king of Lanka, half God, half human.
According to the Ramayana, Ravana once tried to lift Mount
Kailasa and carry it back to hisKingdom as an offering.
(09:58):
Shiva, unmoved, pressed down with a single toe and pinned him
beneath it in agony. Ravana cried out, not in anger
but in worship. He composed A hymn so powerful,
so pure, that Shiva forgave him.Some say that act of devotion,
Ravana's submission, is what gave birth to the Kailasa
temple. A strange detail also appears
(10:20):
far from India, in a completely different tradition.
In the ancient Hebrew texts, King Solomon is said to have
built the first temple without using metal tools.
Instead he used a strange device, the Shamir, A mysterious
force or entity capable of cutting through stone like it
was paper. Guided, directed and controlled,
(10:43):
it could shape even the hardest rock without leaving a mark, a
tool so powerful it had to be kept in lead containers to stop
its power from leaking out. Never mass produced and never
replicated, it was passed down through priesthoods known only
to a select few. Some say it was a lost artifact
of the gods, others say it was alive, and some believe the
(11:06):
Shamir wasn't a myth but a leftover technology from the age
of the Anunnaki. Could Cocasa have used something
like the Shamir? Could the temple have been cut
not with iron, but with light, resonance or sound?
Is that why there are no tool marks, no debris, no written
instructions? What we're looking at may not
(11:26):
have been built by hands at all.One possibility, and a theory
(11:56):
that has been speculated for decades, is the idea that the
builders used resonance frequency or vibration that
could cut and shape the very rock of the mountain.
This would explain why there areno tool marks.
In Baalbek, Lebanon, we find stone blocks weighing hundreds
of tons, all perfectly shaped and stacked together.
(12:17):
No mortar. How were they moved?
How were they shaped? In Petra, Jordan, temples are
carved directly into cliffs withsharp, defined edges, as though
the stone was sculpted using a technique we still can't
replicate today. Across the world, we find
ancient sites with stonework that modern tools can't even
(12:38):
begin to match. A lost global civilization, or
perhaps a precursor to our own? Modern scientists have already
shown that certain frequencies of sound can actually move
objects, even lift them off the ground.
(12:59):
In labs around the world, researchers have demonstrated
that sound waves can cause stoneto levitate using ultrasonic
acoustic levitation. Objects have been suspended in
mid air without any physical contact, using nothing but waves
of pressure. In 2015, engineers at the
(13:20):
University of Tokyo used phased ultrasonic arrays to create a 3D
acoustic field that could trap and move small objects in all
directions. Sound can be used to counter
gravity. In 1988, Swedish engineer John
Stuart Reed built the Cymascope,a device that converts sound
(13:41):
into visible geometric patterns on water and other media, a
field called Cymatics. Reed and others have shown that
sound can structure matter, organize it, direct it.
(14:04):
What if ancient civilizations had mastered acoustic tools
capable of focusing sound at specific frequencies, not just
to lift objects, but to cut stone?
In 2008, NASA researchers testedresonance based disintegration
on stone using focused vibrations.
They found that certain frequencies can cause fractures,
(14:27):
cracks, or even vaporization with no visible damage to
surrounding areas. Sonic drills are being developed
that use vibration instead of rotation to bore through rock.
These systems are quieter, faster and more efficient than
traditional drills, and they're still in early stages.
(14:48):
Which begs the question, if we're just now tapping into
these tools, who used them before?
In the Himalayas, Tibetan monks have long spoken of the ability
to move boulders using sound. In 1939, Swedish explorer Doctor
JAL wrote about witnessing Tibetan llamas using long
trumpets and rhythmic chanting to levitate massive stones into
(15:08):
place while building a monastery.
He described it as ritualistic, precise and beyond explanation.
His report was buried for decades.
(15:31):
Pashupati, Lord of the beasts. Found.
On a seal dated to around 2500 BC.
Deep. Within the ruins.
Of the Indus Valley civilization.
The image. Shows a horned seated figure
surrounded by animals, legs crossed in yogic posture.
Archaeologists. Labeled it Proto Shiva, but the
(15:52):
symbolism. Is already complete.
The serpents, the third eye, theconnection to animals, fertility
and trance states, it's all there.
Thousands of years before the Hindu Vedas were ever written.
And that raises a question, was Shiva not invented by Vedic
tradition but inherited a pre Vedic God?
(16:13):
Older than the caste systems, older than the texts worshipped
by the earliest known civilization in India, and
possibly one of the oldest continuously worshipped deities
on earth. In Hinduism, the divine is split
across three faces. Brahma, the creator, Vishnu, the
preserver. Shiva, the destroyer.
(16:34):
In ancient Mesopotamia, the samepattern emerges.
Anu the creator, king of heaven and leal, commander.
Lawgiver, Lord of the wind and storm.
Enki, master of the waters, keeper of wisdom, and creator of
humanity through forbidden knowledge.
The match is almost perfect. Brahma, like Anu, is remote,
(16:55):
largely absent, more force than personality.
Vishnu, like Enlil, descends to restore order, favors divine
law, and intervenes only when balance breaks.
And Shiva, like Enki, is wild, untamed, brilliant, often at
odds with the others. A.
Bringer of destruction. And transformation.
(17:15):
A God who lives outside of time,surrounded by serpents.
Keeper of mysteries. In Sumerian accounts, Enki
descended to earth with 7 comrades.
The Upkalu described as hybrid beings, part man, part fish or
bird. They emerged from the sea to
teach civilization. They taught agriculture,
mathematics, writing and architecture.
(17:37):
In India, Shiva also appears with mysterious attendants and
sages. He is said to have taught the
first yogis the Sapta Rishi, 7 immortal sages who appear in
almost every Hindu cosmological cycle.
They're. Linked to the stars of the Big
Dipper, a connection also found in Mesopotamian and Egyptian
myth. 7 Sages from the sky teaching humanity.
(17:59):
Again the pattern emerges. The same cast of divine beings
remembered by different names. Shiva.
Wields the Trishula. A triple pronged spear said to
represent the destruction of time itself in Mesopotamia.
Enki's sacred object is the Rod of the Deep, often paired with
serpents and water imagery. Shiva wears a serpent around his
neck. Enki's symbol is the serpent
(18:21):
rising from water. A memory or a cultural avatar of
Enki worshipped under a new namein a new land.
(18:52):
In the great Indian epics the Ramayana and the Mahabharata,
there are gods, there are kings,there are demons.
But there's something else. Technology.
Craft that fly, Weapons that vaporize armies.
Cities that float in the sky anddescend to earth like Chariots
made of light. These are not metaphors.
(19:15):
These are vimanas. Ancient Sanskrit texts describe
them in precise mechanical detail, circular or triangular
in shape, manned by pilots capable of vertical takeoff,
propelled by mercury engines, solar power, or even something
called the anti gravity core. The Vimanaka Shastra, a
(19:35):
controversial 20th century text allegedly based on ancient
sources, details entire schematics, levers, propulsion
systems, flight manuals. Skeptics dismiss it as
pseudoscience, but if it's fiction, it's remarkably
consistent with descriptions found thousands of years earlier
in the Ramayana. Ravana's Pushpaka Vimana is
(19:57):
described as a flying palace capable of speed, stealth, and
vertical descent. In the Mahabharata, we find gods
using weapons that resemble lasers, missiles, and even
nuclear blasts. Mushroom clouds, hair and nails
falling out. The land scorched for
generations, their eyewitness accounts preserved in scripture.
(20:19):
And behind these sky machines were the Devas and Asuras, the
gods and their rivals, divine beings locked in an endless war
over control of the earth. In one age, the devas rule.
In the next, the asuras rise over and over, across yugas and
(20:39):
cycles. The asuras are described as
offspring of the gods, sometimesbirthed through unions with
humans or otherworldly women. Gigantic, brilliant, rebellious.
They sound a lot like the Nephilim.
In the Book of Enoch, we're toldthe sons of God descended to
earth and mated with human women, producing hybrids,
(21:01):
giants, warriors. They taught forbidden knowledge.
They corrupted the earth. And for that, they were haunted
by the archangels, just as the Devas hunt the Asuras, just as
Enlil tried to wipe out the offspring of the Watchers.
And many of these hybrids, thesegiants, these divine kings, were
(21:23):
worshipped. Take Gilgamesh, king of Uruk,
2/3 God, one third man born of adivine bloodline.
He defied the gods. He sought immortality, and in
the great flood that came, he was one of the few to survive.
Compare him to Rama, Arjuna, Karna, heroes of Indian myth,
(21:45):
all born of gods, all given divine weapons, all manipulated
by powers beyond their control. But their story always ends the
same way, with a reset. A flood.
In India, it's Manu, warned by amysterious fish, an avatar of
Vishnu, of a coming cataclysm. The fish instructs him to build
(22:07):
a boat to gather the sages, the seeds of all living things, and
wait for the waters to subside. In Mesopotamia, it's Ziosudra,
Atrahasis and Utna Pishtim. In the Bible, it's Noah.
The pattern is identical. The gods grow angry.
The earth is corrupted by unnatural beings.
(22:28):
A flood is sent to wipe the slate clean.
One family survives, guided by aGod who chooses knowledge over
destruction. In summer, that God is Enki.
In India, it's Vishnu, A preserver but also a figure who,
like Enki, defies the will of the others.
The story ends with survival, but not without loss.
(22:52):
The skycraft are gone, the giants are no more, the gods
vanish into myth, and the world begins again.
Until the next cycle, until the next war, and perhaps until the
gods return. Was Kailasa Temple built to
(23:28):
shelter knowledge or technology from the flood?
Why go to the impossible lengthsof carving downward through
solid mountain? Why design a structure with no
inscriptions, no construction trail, and no clear religious
origin? What if Kailasa wasn't meant to
be seen in its time? What if it was meant to last
(23:51):
through something? In nearly every flood myth,
whether it's Manu, Noah, or Zayasudra, we're told that not
just people were saved, but knowledge.
What if some of that wasn't stored on boats, but in stone?
If the Anunnaki really were here?
If beings like Enki or the Apkalu ceded human civilization
(24:13):
before the flood, then it would make sense for them to protect
that knowledge. Somewhere it couldn't be washed
away. Somewhere like this.
A temple that can't be burned, buried, or erased.
Maybe that's why there's no written explanation.
We were never meant to understand it with words.
We were meant to preserve it until the time came to remember.
(25:13):
The. The.
(26:16):
The.
Hidden in the hills of Maharashtra, India, among a
series of ancient rock cut monuments known as the Allora
Caves, there stands a structure that defies logic, not because
of how old it is, but because itshouldn't exist at all.
Towering over 100 feet into the sky, sculpted with a level of
precision and artistry that stuns modern engineers, the
(00:22):
Kailasa temple was not built stone by stone.
It was not assembled. It was carved, excavated
vertically from the top of the mountain down out of a single
piece of volcanic basalt. A free standing temple complete
with pillars, sanctums, shrines,sculptures, stairways and
(00:42):
drainage systems, all carved from a continuous block of
stone. Over 400,000 tons of rock are
estimated to have been removed, yet there are no piles of
rubble, no construction debris, no carvings explaining how or
why, no written records, no inscriptions, no blueprints.
Just the finished product standing there in perfect
(01:05):
silence. Mainstream scholars will tell
you it was commissioned by Rashtrakuda King Krishna, the
first in the 8th century. But the math doesn't work, not
even close. At best estimates it would have
taken hundreds of years with thetools said to be available at
the time. Yet even by conservative
academic timelines, it was allegedly completed in under 2
(01:28):
decades. That's not just unlikely, it's
impossible. So what are we looking at?
A monument of genius craftsmanship lost to time?
Or the remnant of a civilizationwhose capabilities go far beyond
what we're allowed to believe? Local legend says it was built
overnight by a divine architect,either Shiva himself or the
(01:50):
demon king Ravana. But these are just myths we're
told, just symbolic stories to explain the unexplainable.
Maybe. Or maybe these stories are
fractured memories, echoes of something real.
Because when you stand at the foot of this temple and run your
hand across the stone, you don'tjust feel age, you feel
(02:12):
intention, you feel design. And you begin to wonder, was
this temple created or uncovered?
Was it shaped by human hands or by the technology of beings long
since forgotten? And if it was left here for us
to find, why? In this episode, we'll examine
(02:33):
one of the most mysterious temples on Earth and follow the
clues wherever they lead to ancient gods, cosmic wars,
flying machines, and flood mythsthat stretch across time.
Because some believe the KailasaTemple is more than a spiritual
monument. Some believe it's a relic, a
beacon, a marker from a time when the gods still walked the
(02:55):
earth. This is the Annunaki connection,
and the mystery begins now. Music.
(04:09):
According to conventional history, the temple was ordered
by King Krishna, the first of the Rashtrakuta dynasty, around
756 AD. The story goes that he wanted to
recreate Mount Kailasa, the mythic Himalayan home of Lord
Shiva, right here on earth. And so, using simple hammers and
chisels, a team of stone workersallegedly spent 18 years carving
(04:31):
it out of the mountain. That's the official story, but
it doesn't hold up. Let's do the math.
Over 400,000 tons of solid base salt rock would have had to be
removed. That's roughly 200,000 cubic
meters. If they worked non-stop for 18
years, day and night, that wouldstill require removing about 60
tons of stone every single day. Not shaping stone, not carving
(04:55):
decorations, just removal with iron chisels and hammers on
volcanic basalt. A stone so hard that even modern
machinery would struggle. And yet, not only was the rock
removed with unexplainable precision, the resulting
structure wasn't rough or basic.It was magnificent.
The Kailasa Temple includes 2 stories, a massive courtyard,
(05:20):
multiple shrines, complex drainage systems, suspended
bridges and sculpted reliefs that rival anything in Europe's
cathedrals. And it's all perfectly
symmetrical. Every pillar, every carving,
every shrine meticulously aligned as if done with laser
guided tools. But it gets stranger.
(05:42):
There's no inscription anywhere on the site crediting its
architect. No blueprints, no construction
logs, and no records in any of the major Indian texts from that
time. That's not normal.
In ancient India, temples were sacred expressions of divine
patronage. Kings would always inscribe
their names on such structures. Entire epics were written about
(06:06):
the construction of far less impressive shrines.
But kailasa? Silence.
It's as if it just appeared. And then there's the bigger
problem, the absence of rubble. If hundreds of thousands of tons
of basalt were removed, where did it go?
There are no nearby debris fields, no piles of waste rock,
(06:29):
no remnants of massive excavation.
Some researchers have suggested it was vaporized or somehow
melted away. Others believe it was removed
using technologies we've lost ornever had.
Ancient texts do mention beings with the power to cut through
stone with sound or raise mountains with a word.
(06:50):
Legends, maybe. But when the physical evidence
matches the myth, maybe the mythdeserves a second look.
Because what we're left with is this.
A temple carved with impossible precision out of a single rock,
built with unknown methods, lacking any construction trail
(07:11):
and bearing no name. The deeper you go into the story
of Kailasa and the more it begins to feel like a recovered
artifact, one that may not have been meant for us to understand.
One that whispers of something much older and much more
advanced than anything we've been allowed to imagine.
(07:53):
The official record says the Kailasa temple was carved around
756 AD, commissioned by a king named Krishna the first.
But the people of the land remember it differently.
One of the most enduring legendscomes from the Marathi speaking
villagers who live near Illora. It begins with a queen.
(08:13):
Her name is lost, her king gravely ill.
In desperation, she makes a vow to Lord Shiva.
If my husband is healed, I will build you a temple.
And I won't eat until the shikhara, the crown of the
temple, is complete. Shiva grants her wish.
The king recovers. But now the queen faces a new
(08:36):
dilemma. Temples take years to build, and
she refuses to break her fast until the tower is finished.
That's when the royal architect Cocasa, the Master of Stone, is
said to have done the impossible.
He orders the work to begin not from the base, but from the top,
(08:57):
carving down through solid mountain cutting stone with a
precision no one can explain. And by dawn the Shikara is
complete. The Queen sees it and breaks her
fast. That's the legend.
But here's what makes it more than just a story.
The temple really was carved topdown.
(09:17):
Modern archaeologists confirm it.
No other temple in India was built this way.
Why would ancient builders choose the most difficult,
dangerous and irreversible method?
Other versions of the story tellit differently.
Some say it was built by Shiva, that the temple is a copy, a
terrestrial echo of Mount Kailasa in Tibet, the sacred
(09:38):
peak said to be his divine throne.
Still others say the being behind it wasn't Shiva at all,
but Ravana, the demon king of Lanka, half God, half human.
According to the Ramayana, Ravana once tried to lift Mount
Kailasa and carry it back to hisKingdom as an offering.
(09:58):
Shiva, unmoved, pressed down with a single toe and pinned him
beneath it in agony. Ravana cried out, not in anger
but in worship. He composed A hymn so powerful,
so pure, that Shiva forgave him.Some say that act of devotion,
Ravana's submission, is what gave birth to the Kailasa
temple. A strange detail also appears
(10:20):
far from India, in a completely different tradition.
In the ancient Hebrew texts, King Solomon is said to have
built the first temple without using metal tools.
Instead he used a strange device, the Shamir, A mysterious
force or entity capable of cutting through stone like it
was paper. Guided, directed and controlled,
(10:43):
it could shape even the hardest rock without leaving a mark, a
tool so powerful it had to be kept in lead containers to stop
its power from leaking out. Never mass produced and never
replicated, it was passed down through priesthoods known only
to a select few. Some say it was a lost artifact
of the gods, others say it was alive, and some believe the
(11:06):
Shamir wasn't a myth but a leftover technology from the age
of the Anunnaki. Could Cocasa have used something
like the Shamir? Could the temple have been cut
not with iron, but with light, resonance or sound?
Is that why there are no tool marks, no debris, no written
instructions? What we're looking at may not
(11:26):
have been built by hands at all.One possibility, and a theory
(11:56):
that has been speculated for decades, is the idea that the
builders used resonance frequency or vibration that
could cut and shape the very rock of the mountain.
This would explain why there areno tool marks.
In Baalbek, Lebanon, we find stone blocks weighing hundreds
of tons, all perfectly shaped and stacked together.
(12:17):
No mortar. How were they moved?
How were they shaped? In Petra, Jordan, temples are
carved directly into cliffs withsharp, defined edges, as though
the stone was sculpted using a technique we still can't
replicate today. Across the world, we find
ancient sites with stonework that modern tools can't even
(12:38):
begin to match. A lost global civilization, or
perhaps a precursor to our own? Modern scientists have already
shown that certain frequencies of sound can actually move
objects, even lift them off the ground.
(12:59):
In labs around the world, researchers have demonstrated
that sound waves can cause stoneto levitate using ultrasonic
acoustic levitation. Objects have been suspended in
mid air without any physical contact, using nothing but waves
of pressure. In 2015, engineers at the
(13:20):
University of Tokyo used phased ultrasonic arrays to create a 3D
acoustic field that could trap and move small objects in all
directions. Sound can be used to counter
gravity. In 1988, Swedish engineer John
Stuart Reed built the Cymascope,a device that converts sound
(13:41):
into visible geometric patterns on water and other media, a
field called Cymatics. Reed and others have shown that
sound can structure matter, organize it, direct it.
(14:04):
What if ancient civilizations had mastered acoustic tools
capable of focusing sound at specific frequencies, not just
to lift objects, but to cut stone?
In 2008, NASA researchers testedresonance based disintegration
on stone using focused vibrations.
They found that certain frequencies can cause fractures,
(14:27):
cracks, or even vaporization with no visible damage to
surrounding areas. Sonic drills are being developed
that use vibration instead of rotation to bore through rock.
These systems are quieter, faster and more efficient than
traditional drills, and they're still in early stages.
(14:48):
Which begs the question, if we're just now tapping into
these tools, who used them before?
In the Himalayas, Tibetan monks have long spoken of the ability
to move boulders using sound. In 1939, Swedish explorer Doctor
JAL wrote about witnessing Tibetan llamas using long
trumpets and rhythmic chanting to levitate massive stones into
(15:08):
place while building a monastery.
He described it as ritualistic, precise and beyond explanation.
His report was buried for decades.
(15:31):
Pashupati, Lord of the beasts. Found.
On a seal dated to around 2500 BC.
Deep. Within the ruins.
Of the Indus Valley civilization.
The image. Shows a horned seated figure
surrounded by animals, legs crossed in yogic posture.
Archaeologists. Labeled it Proto Shiva, but the
(15:52):
symbolism. Is already complete.
The serpents, the third eye, theconnection to animals, fertility
and trance states, it's all there.
Thousands of years before the Hindu Vedas were ever written.
And that raises a question, was Shiva not invented by Vedic
tradition but inherited a pre Vedic God?
(16:13):
Older than the caste systems, older than the texts worshipped
by the earliest known civilization in India, and
possibly one of the oldest continuously worshipped deities
on earth. In Hinduism, the divine is split
across three faces. Brahma, the creator, Vishnu, the
preserver. Shiva, the destroyer.
(16:34):
In ancient Mesopotamia, the samepattern emerges.
Anu the creator, king of heaven and leal, commander.
Lawgiver, Lord of the wind and storm.
Enki, master of the waters, keeper of wisdom, and creator of
humanity through forbidden knowledge.
The match is almost perfect. Brahma, like Anu, is remote,
(16:55):
largely absent, more force than personality.
Vishnu, like Enlil, descends to restore order, favors divine
law, and intervenes only when balance breaks.
And Shiva, like Enki, is wild, untamed, brilliant, often at
odds with the others. A.
Bringer of destruction. And transformation.
(17:15):
A God who lives outside of time,surrounded by serpents.
Keeper of mysteries. In Sumerian accounts, Enki
descended to earth with 7 comrades.
The Upkalu described as hybrid beings, part man, part fish or
bird. They emerged from the sea to
teach civilization. They taught agriculture,
mathematics, writing and architecture.
(17:37):
In India, Shiva also appears with mysterious attendants and
sages. He is said to have taught the
first yogis the Sapta Rishi, 7 immortal sages who appear in
almost every Hindu cosmological cycle.
They're. Linked to the stars of the Big
Dipper, a connection also found in Mesopotamian and Egyptian
myth. 7 Sages from the sky teaching humanity.
(17:59):
Again the pattern emerges. The same cast of divine beings
remembered by different names. Shiva.
Wields the Trishula. A triple pronged spear said to
represent the destruction of time itself in Mesopotamia.
Enki's sacred object is the Rod of the Deep, often paired with
serpents and water imagery. Shiva wears a serpent around his
neck. Enki's symbol is the serpent
(18:21):
rising from water. A memory or a cultural avatar of
Enki worshipped under a new namein a new land.
(18:52):
In the great Indian epics the Ramayana and the Mahabharata,
there are gods, there are kings,there are demons.
But there's something else. Technology.
Craft that fly, Weapons that vaporize armies.
Cities that float in the sky anddescend to earth like Chariots
made of light. These are not metaphors.
(19:15):
These are vimanas. Ancient Sanskrit texts describe
them in precise mechanical detail, circular or triangular
in shape, manned by pilots capable of vertical takeoff,
propelled by mercury engines, solar power, or even something
called the anti gravity core. The Vimanaka Shastra, a
(19:35):
controversial 20th century text allegedly based on ancient
sources, details entire schematics, levers, propulsion
systems, flight manuals. Skeptics dismiss it as
pseudoscience, but if it's fiction, it's remarkably
consistent with descriptions found thousands of years earlier
in the Ramayana. Ravana's Pushpaka Vimana is
(19:57):
described as a flying palace capable of speed, stealth, and
vertical descent. In the Mahabharata, we find gods
using weapons that resemble lasers, missiles, and even
nuclear blasts. Mushroom clouds, hair and nails
falling out. The land scorched for
generations, their eyewitness accounts preserved in scripture.
(20:19):
And behind these sky machines were the Devas and Asuras, the
gods and their rivals, divine beings locked in an endless war
over control of the earth. In one age, the devas rule.
In the next, the asuras rise over and over, across yugas and
(20:39):
cycles. The asuras are described as
offspring of the gods, sometimesbirthed through unions with
humans or otherworldly women. Gigantic, brilliant, rebellious.
They sound a lot like the Nephilim.
In the Book of Enoch, we're toldthe sons of God descended to
earth and mated with human women, producing hybrids,
(21:01):
giants, warriors. They taught forbidden knowledge.
They corrupted the earth. And for that, they were haunted
by the archangels, just as the Devas hunt the Asuras, just as
Enlil tried to wipe out the offspring of the Watchers.
And many of these hybrids, thesegiants, these divine kings, were
(21:23):
worshipped. Take Gilgamesh, king of Uruk,
2/3 God, one third man born of adivine bloodline.
He defied the gods. He sought immortality, and in
the great flood that came, he was one of the few to survive.
Compare him to Rama, Arjuna, Karna, heroes of Indian myth,
(21:45):
all born of gods, all given divine weapons, all manipulated
by powers beyond their control. But their story always ends the
same way, with a reset. A flood.
In India, it's Manu, warned by amysterious fish, an avatar of
Vishnu, of a coming cataclysm. The fish instructs him to build
(22:07):
a boat to gather the sages, the seeds of all living things, and
wait for the waters to subside. In Mesopotamia, it's Ziosudra,
Atrahasis and Utna Pishtim. In the Bible, it's Noah.
The pattern is identical. The gods grow angry.
The earth is corrupted by unnatural beings.
(22:28):
A flood is sent to wipe the slate clean.
One family survives, guided by aGod who chooses knowledge over
destruction. In summer, that God is Enki.
In India, it's Vishnu, A preserver but also a figure who,
like Enki, defies the will of the others.
The story ends with survival, but not without loss.
(22:52):
The skycraft are gone, the giants are no more, the gods
vanish into myth, and the world begins again.
Until the next cycle, until the next war, and perhaps until the
gods return. Was Kailasa Temple built to
(23:28):
shelter knowledge or technology from the flood?
Why go to the impossible lengthsof carving downward through
solid mountain? Why design a structure with no
inscriptions, no construction trail, and no clear religious
origin? What if Kailasa wasn't meant to
be seen in its time? What if it was meant to last
(23:51):
through something? In nearly every flood myth,
whether it's Manu, Noah, or Zayasudra, we're told that not
just people were saved, but knowledge.
What if some of that wasn't stored on boats, but in stone?
If the Anunnaki really were here?
If beings like Enki or the Apkalu ceded human civilization
(24:13):
before the flood, then it would make sense for them to protect
that knowledge. Somewhere it couldn't be washed
away. Somewhere like this.
A temple that can't be burned, buried, or erased.
Maybe that's why there's no written explanation.
We were never meant to understand it with words.
We were meant to preserve it until the time came to remember.
(25:13):
The. The.
(26:16):
The.
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