ANUNNAKI CONNECTION
Egypt
Winged Flying Craft or Angels?
Egyptian Winged Goddess
Graeco-Roman Fresco
Kom el-Shugafa, Alexandria
This Graeco-Roman fresco is among the many treasures found among the catacombs of Kom el-Shugafa, the 'hill of potsherds', located south-west of Alexandria in Egypt.  Dating to the 1st and 2nd centuries AD, the Kom el-Shugafa relics are a curious blend of Egyptian, Roman and Greek influences.  Here we see a classic ancient Egyptian mummy protected by deities, and lying below an unusual winged disc.  It appears to be riding upon a celestial barge which is red in colour.

If Nibiru made an appearance in the skies around the time of Christ, then this image is precisely the kind of thing we would expect to see daubed upon the catacomb walls of Graeco-Roman Egypt. 

by Andy Lloyd

Source
The Rosicrucian Connection
Winged Disc
Even in modern times it is still possible to find the Winged Disc. The Ancient and Mystical Order Rosae Crucis  The Order dates its tradition history back to Pharoah Akhenaten and Nefertiri.We have other areas about the order with more information in our "Cosmic Wisdom of the Ancients" section...

Ancient and Mystical Order Rosae Crucis
Rameses III
Luxor, Egypt
Above a doorway in Rameses III's temple, the sun god uses wings to protect us.
In Jewelry

 

 
Evolution of the Winged Disc
  1. The typical Egyptian symbol from the lintel of a Theban temple of fifteenth century B.C.
  2. A Persian variant.
  3. An even more conventionalized Babylonian form.
  4. Central American (Maya) lintels.
  5. Central American (Maya) lintels
  6. Christian Versions
In the upper one (from Ococingo) the reversal of the two wings has necessitated a reinterpretation of the conventionalized head ( C ) and tail ( T ) of the Cobra in the original Egyptian design. (The latter is taken form Dr.A.P. Maudslay’s representation of what he calls the serpent-bird from the wooden lintel of a temple at Tikal).

From comparative studies of Maya art, Dr. Maudslay arrived at the conclusion that the geometrical design above, and including the tail ( T ), represents a serpent’s head upside down – without the jaw.

By comparison with Indonesian designs, the writer arrived at the same conclusion. The loss of the jaw in the conventionalization of the serpent occurred in India and was emphasized in Java (Fig.49), and in that form adopted in America.

From Human History by G. Elliot Smith
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