Deacon Mural

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In the David 8 Commercial, he responds to this Rorschach Test Card as Angel

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As you can see from overlaying the card with colours inverted over the headroom mural from Prometheus you can see the Facehuggers, Chestbursters, Ovomorph, Trilobite, Hammerpede, Deacon and Xenomorph Queen highlighted.

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What I found out is that this mural was initially created as a homage to H.R.Giger, created out of a few assets lying around and served as prime inspiration for Prometheus.

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carlos_huante This is an abbreviated version of my Prometheus portfolio.. the Deacon.. my intention with this design was that he was supposed to be born of a man.. not an engineer… The first Zenomorph was supposed to come out of an engineer…

But between that time and the creation of the David 8 commercial, someone had made the Rorschach Angel card design correspond with the mural, putting it into David’s synthetic subconscious.

I think that it’s pretty cool that big things have small beginnings

The Peacock Angel

Melek Taus (Ezdiki: Tawûsê Melek), also spelled Malik Tous, translated in English as Peacock Angel, is one of the central figures of Yazidi religion.

In Yazidi creation stories, God created the world and entrusted it to the care of seven Holy Beings, often known as Angels or heft sirr (‘the Seven Mysteries’), preeminent of which is Tawûsê Melek, the Peacock Angel.

This could be another link to the green stone in the Head Room.

Like many aspects of the secretive Yazidi religion, Tawûsê Melek is subject to varied and ambiguous interpretations. The Yazidi Book of Revelation (Ketêbâ Jelwa), a text believed by some to have been written by non-Yazidis in the early twentieth-century but based on Yazidi oral tradition, even though a nineteenth-century translation of the text exists, is purported to contain the words of Tawûsê Melek; it states that he allocates responsibilities, blessings and misfortunes upon humanity as he sees fit and that it is not for the race of Adam to question his choices.

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Since the late 16th century, some Muslims have accused Yazidis of devil worship due to the similarity between the Quranic story of Iblis and the account of Tawûsê Melek’s refusal to bow to Adam. Whereas Muslims revile Iblis for refusing to submit to God and bow to Adam, believing that his defiance caused him to fall from God’s grace, Yazidis revere Tawûsê Melek for his independence and believe that God’s command to Tawûsê Melek was a test to see if he understood his own majestic and sublime nature. Accusations of devil worship fueled centuries of violent persecution, which have led Yazidi communities to concentrate in remote mountainous regions of northwestern Iraq. The Yazidi taboo against the Arabic word Shaitan (الشیطان) and on words containing the consonants š (sh) and t/ṭ have been used to suggest a connection between this Tawûsê Melek and Iblis, although no evidence exists to suggest Yazidis worship Tawûsê Melek as the same figure.

This also reminds me of Kshitigarbha who is linked to the Cintamani. Kshitigarbha is a bodhisattva often depicted as a Buddhist monk who carries a staff to force open the gates of Hell and a piece of the cintaimanti to light up the darkness. His name translates as “Earth Treasury”, “Earth Store”, “Earth Matrix” or “Earth Womb”. He has taken a vow to be responsible for the instruction of all beings in all worlds between the death of Gautama Buddha and the coming of Maitreya. During this time he has vowed not to achieve full buddhahood until all the Hells are emptied by helping those there reach enlightenment, which makes him a bodhisattva of the deceased souls and spirits residing in Hell.

In the 1920’s a high abbot from the Trasilumpo lamasery supposedly entrusted Nicholas Roerich, a Russian artist and explorer with a fragment of the Cintamani. Roerich speculated that the stone was moldavite which had a sanskrit inscription which he translated as

“Through the Stars I come. I bring the chalice covered with the shield. Within it I bring a treasure, the gift of Orion.”