Tag: author Freddy Silva

The Otherworld in the Andes: Part 2, by Freddy Silva

In this guest blog best-selling author and tour leader for our upcoming Peru journey, “Welcome to the World of Megalithic Revelation”, Freddy Silva continues his exploration of Peru’s sacred sites, focusing on the portal of Amaru Muru, near Lake Titicaca. Read Freddy’s first instalment: The Otherworld in the Andes

Southeast of the sacred sites [of Silustani and Cutimbo] lies a third, a sandstone massif on the western edge of Lake Titicaca, and it too is linked with the Otherworld. The hill is called Hayu Marca, literally “Gate of the Spirits”. Long ago, when the water level of this inland sea surrounded it, the hill was an island resembling a large teardrop, much like Glastonbury Tor once did. And along its façade, nameless people carved a monumental portal and called it Amaru Muru.

Amaru Muru in Peru
The carved hill of Amaru Muru is described as a portal to the Otherworld, and unusually dressed people are seen entering and leaving. The name means “serpent”, a reference to the telluric current that passes through it.

Amaru means “serpent” in Qechua, and as with similar locations around the world, the designation identifies the site as a conduit for the Earth’s telluric currents. Together with the high content of iron oxide already present in the rock, the place leaves an indelible impression on anyone who ventures here. The Catholic zealots who conquered this land felt unnerved by it, so much they called it the Devil’s Doorway. Local people often report a blue light emanating from a tunnel inside the rock, or strange people dressed in unusual clothing emerging from it and travelling towards Lake Titicaca.

The oldest legend describes Amaru Muru as “a doorway to the lands of the gods,” and how in times long past great heroes passed through this gate for a glorious new life of immortality in the Otherworld. A hollow niche at the base faces the rising Sun at the Equinox and accommodates a person of average height. Curiously, the work bears a passing resemblance to Egyptian “false doors” found in ritual chambers – symbolic portals through which the soul travels between worlds.

site of Yazilikaya
Although attributed to King Midas, the carved portal of Yazilikaya is in fact dedicated to Cybele, the tutelary goddess of temples associated with resurrection rituals. Mida refers to her surname.

This portal into the Otherworld has a twin on the opposite side of the world, at Yazilikaya in Anatolia, and comparing the two would lead anyone to believe they were carved by the same artist. The vertical limestone outcrop has been incorrectly linked as the burial place of Midas, the fabled king who turned everything he touched into gold. However, the king’s body was never found here, not surprising given that Mida is the Phrygian surname of Cybele, a local adaptation of Demeter, the presiding goddess of the Greek Mysteries and its ritual of living resurrection. Above it, on the summit, there is a rock-cut altar and accompanying tunnels that lead 900 feet down into the bedrock, where initiation was conducted. The same is true of Amaru Muru. There exist vestiges of some kind of rectangular structure on its summit, while behind the portal a tunnel descends twenty-four feet into the rock face before reaching a brick wall, erected by the authorities lest anyone should disappear into the bowels of the Earth, because as pre-Inka legends claim, the tunnel extends 800 miles to Cusco.

Even stranger is the suffix kaya in Yasilikaya, because it is a Quechua word meaning “tomorrow”, while yaşlı in Central Asia is “a person of great age”. The genetic link between people of Central Asia and South America has long been known, but to add to this a linguistic bridge plus mirrored sacred sites sharing a common purpose implies a shared tradition of unfathomable age.

The Aymara of the Andes considered the Southern Cross constellation to lie in a sector of the Milky Way marking the entrance into the Otherworld. Their prime symbol was a cross called chakana, which means “to bridge or cross”, and reveals much about their recognition of the umbilical link between the here and hereafter and its importance in the conduct of human affairs. The oldest iteration of the design – a rectangle sprouting an uneven armed cross – is found in the temple of Tiwanaku and represents the three levels of existence: the Otherworld of gods, the Middleworld of Mother Earth, and the creative Underworld. Its design is defined by the unusual ratio 6:5, which is shorthand for the relationship between the Earth’s precessional cycle of 25,920 years divided by its 21,600-year axial tilt. This 6:5 ratio allows self-aware life to be established on Earth. No other rock in the solar system bears this ratio.

Andean Cross
The oldest known iteration of the Andean Cross consists of a perfect 6:5 ratio rectangle, representing the Earth’s 25,920-year precessional cycle relative to its axial tilt of 21,600 years.

How the Andeans discovered this is a mystery, unless you accept they performed this out-of-body journey and pulled the information from an astral library; after all, initiates like Pythagoras and Plato stated how their philosophies were shaped by the knowledge gained from their own resurrection experiences.


To learn more about the rituals of living resurrection and the Otherworld join Freddy Silva this fall as he journeys to the sacred sites of Peru.

Welcome to the World of Megalithic Revelation with Freddy Silva: Discover the Hidden Face of the Power Places of Peru” features visits to Amaru Muru, Silustani, Cutimbo, Machu Picchu, the Uros Islands, and more. Spaces are limited – visit our website today to read our full itinerary and book your spot on this trip of a lifetime.

©Freddy Silva 2015. Based on material from his book The Lost Art of Resurrection: Initiation, Secret Chambers and the Quest for the Otherworld. Available at www.invisibletemple.com

The Otherworld in the Andes by Freddy Silva

In this guest blog best-selling author and tour leader for our upcoming Peru journey, “Welcome to the World of Megalithic Revelation”, Freddy Silva explores the true significance of some of Peru’s most iconic sacred sites, revealing that stone towers (chullpas) such as those at Silustani and Cutimbo as well as portals such as Amaru Muru may have been part of a global tradition of secret initiation rituals.

See also: The Otherworld in the Andes Part II

Sixteenth century chroniclers taking the road from Cuzco to Puno, on the western shore of Lake Titicaca, were amazed by the plethora of unusual round, stone towers perched on the edge of a mesa in a rural location called Silustani. These chullpas were constructed from small, ill-fitted river rocks and contained the preserved bodies of Inka nobles.

But there were other towers nearby and of a very, very different character – tall and tapering and built with massive curved stones, fitted together tongue-and-groove style, without mortar, so tightly arranged that an alpaca hair could not be inserted between them. They looked as though designed by a cosmic mason. Even back then it was suspected that their origin was pre-Inka, but provided the inspiration for later funerary practices; the earlier structures either contained no burials, or the few bodies found inside were at odds with the age of the buildings.

Silustani in Peru
Classic chullpa, Silustani

To solve the riddles of the chullpas it is necessary to look at a similar situation elsewhere. As coincidences go, I had just written a book delving into the true meaning of resurrection and the temples where it was practiced, and thanks to this revelation I was now able to see the chullpas in a very different light. In erecting these unusual towers the unknown builders were indulging in a ritual known only to adepts of Mysteries schools from China to Ancient Egypt: the ritual of raising the dead, also described by the apostle Philip as “living resurrection”.

There are numerous “tombs” throughout Egypt, Greece, and Asia Minor where this ritual was practiced. They are described by orthodox archaeology as burial places except no body was ever found inside them. Two of the most anomalous are the subterranean passage chambers of pharaohs Thutmosis III and Unas; the former had earlier built himself a funerary chamber a mile away (where his mummy was actually found) so why on earth should one man need two tombs? Each of these chambers is covered from floor to ceiling with unique texts describing the method for ascending into the Otherworld, but with one notable difference: the instructions are meant for a person who is alive: “It is good for the dead to have this knowledge, but also for the person on Earth…. Whoever understands these mysterious images is a well provided light being. Always this person can enter and leave the Otherworld. Always speaking to the living ones. Proven to be true a million times.”

stone circle peru
Stone circle marking solar and lunar processes, with one of the many chullpas in the distance. The entire hill of Sillustani appears to have been used for ritual, every chullpa oriented East, when the candidate emerged from within to face the rising Sun and declared risen from the dead.

In Unas’ chamber, beneath his pyramid, the text even asserts the moment the pharaoh reaches the Otherworld: “Unas is not dead, Unas is not dead.” Indeed the Egyptians claimed that many of the pyramids and temples were places of rest but not necessarily a person’s final resting place, leading to the conclusion that they must have originally served a ritual purpose.

Living resurrection refers to an out-of-body experience whereby the initiate returns to the living world with first-hand knowledge of celestial mechanics. His eyes opened to the bigger picture, he stands apart from the rest of the population who stumble through life as though asleep – “the dead.” He or she is aware, awake – risen from the dead.

Suitably armed with this understanding of ancient Mysteries practices allows us to penetrate the riddle at Silustani: that the chullpas were a continuation of this ageless ritual. Around 5000 BC the level of Lake Titicaca was much higher, making today’s peninsula an island linked to the mainland by a very narrow isthmus. One of the prerequisites for the journey into the Otherworld is a voyage by the soul to an island in the West and, just like initiation sites along the Nile, Silustani originally stood on the western side of a major body of water.

On the face of the main chullpa there is a carving of what many take to be a lizard. The creature may in fact represent a salamander, a traditional symbol in ancient Mysteries schools of the regenerative power of nature – again a perfect description of the benefit to the soul who undertakes a journey into the Otherworld.

chullpas in peru
A chullpa at Silustani

Silustani’s position on a flat-top hill of iron-bearing andesite, packed with magnetite, and surrounded by water appears to have been deliberately chosen to assist the process. These elements by themselves generate a geomagnetic field, and when combined with a variation of adjacent soil and its accompanying fault line, produce what is known as a conductivity discontinuity. Most of the world’s sacred places, particularly those associated with rituals involving altered states, lie precisely at such junctions – Petroglyph Mesa in Albuquerque, New Mexico; Carnac in France; and Loughcrew in Ireland to name a few. Simply put, the harnessing of GMF inside a man-made structure amplifies the forces that facilitate a hallucinatory state. A dead person has no use for this, but a person lying in a state of meditation inside an artificially-constructed womb, does.

The ancient architects of the chullpas may have left no record of their practices except what remains etched in local tradition, yet by comparing their remaining artefacts to similar cultural practices elsewhere we begin to understand the function these structures originally served. As the Egyptians themselves knew so well, in this case, the funerary connection was not the deceased, but a living candidate who, via a voluntary near-death experience, sought an experience of the Otherworld.


In the next instalment of this fascinating look at Peru’s sacred sites and their connection to living resurrection, Freddy Silva will explore the portal, Amaru Muru.

We will travel to both Silustani and Amaru Muru – as well as many other must-see sites – on our October 25th to November 3rd journey, “Welcome to the World of Megalithic Revelation with Freddy Silva: Discover the Hidden Face of the Power Places of Peru”. Spaces are limited – visit our website today to read our full itinerary and book your spot on this trip of a lifetime.

©Freddy Silva 2015. Based on material from his book The Lost Art of Resurrection: Initiation, Secret Chambers and the Quest for the Otherworld. Available at www.invisibletemple.com