Disclosure Series: One Blueprint Across Civilizations.

Title Disclosure Series: One Blueprint Across Civilizations. Who Designed It? Testing a Reconstructed Radial Template Against Sacred Art and Architecture for Evidence of Non-Human Intelligence Author Culajay, Juan F. Affiliation: Fractalism Framework Research Institute, Orlando, Florida, United States ORCID: 0009-0002-6887-5228 Resource type Publication → Preprint (Report) Publication date 2026-10-14 Language English Description / Abstract If non-human intelligence (NHI) has been present on Earth over historical time, its presence should be detectable in the cultural record. This study tests that prediction against a single radial composition, reconstructed as a template: a center, an inner ring, four arms ending in circles, four circles on the diagonals each holding a winged bipedal figure, and an encircling rainbow band. The template was drawn mainly from Ezekiel 1 and the Iron Age rock art of Val Camonica (Italy), with its inner band from the Andean myth of the chakana. It is laid over sacred art and architecture from eight religions and nine cultural areas by fixed rules: set hub to hub, or by the first outer circle where a source has no hub, scaled once, and never distorted. The buildings were chosen for their standing in their religion, not their form; the artifacts were gathered by form; Stonehenge was tested outside these rules as a control. Features were defined before the traditions were compared. Part I takes the sources by religion: Judaism (Ezekiel 1, Babylon, 593 BCE; the camp of Israel; the Leningrad Codex; Lamy's plan of Solomon's Temple), Christianity (the Arzap stones, the Jerusalem Cross, Hosios Loukas, St. Peter's Basilica in plan and as built, San Gaudenzio in Novara, and the Orthodox cathedral at Gelendzhik), Islam (two calligraphic roundels, the eight-pointed star, the Dome of the Rock, and the Taj Mahal), Hinduism (the Surya Majapahit of Java, Angkor Wat, the temple of Vishveshvur at Benares, the Bajra Sandhi monument, and the Statue of Equality), Buddhism (two Tibetan mandalas, a protection wheel, Somapura Mahavihara, and three temples in China and Thailand), Jainism (Ranakpur and the Chaturmukha Basadi), Shinto (a bronze mirror from the Hirabaru site), and Vodou (the Milokan vèvè). Part II takes them by cultural area: Scandinavian rock art and metalwork, Frankish metalwork, and Stonehenge in Europe; the Egyptian figure groups, the Dendera zodiac, and the Great Pyramid; a Bactria–Margiana seal; the Chinese myth of the Four Dragon Kings, two bronze mirrors, and a charm coin; an Akan goldweight from West Africa; Mississippian shell gorgets, Spiro shell-cup designs, Navajo sandpainting designs, a Swift Creek stamped design, and the Northern Chumash emblem in North America; three Classic Maya plates, the Aztec Sun Stone, three codex pages, the Aztec glyph for gold, and El Castillo in Mesoamerica; five painted plates and bowls from Panama; and the Mapuche kultrun and the Andean stepped cross in South America. The composition recurs beyond the center and four directions that a shared cosmology would explain. Of 38 rows of encoded beings and marks, 31 have a center, 25 occupy the four diagonals, and 30 total a center with sets of four (5, 9, 13, 17, 21, 25). Sources with no contact between them hold the plan in proportion, not only in concept: a Mughal tomb and a Renaissance basilica both fit it, and Stonehenge, the plan of St Peter's, a Tibetan mandala and a page of the Leningrad Codex fall on one another part for part, while two sources that share the concept but not the plan do not. The fits are exact at the scale of a hand: in many buildings and artifacts the hands of the template's diagonal figures land on the structure itself, the corners of the Leningrad Codex's gold octagon and the edge of the outer wall of the Dome of the Rock among them, and the Vårby brooch draws gripping beasts holding its band. Where a tradition names the beings on the diagonals, their roles converge on thunder, rain, storm and protection; where it describes the encircling band, it is a rainbow, and a bridge. Keywords comparative mythology; sacred architecture; radial composition; Ezekiel; Val Camonica; Camunian rose; chakana; overlay analysis; non-human intelligence; convergence License Creative Commons Attribution 4.0 International (CC BY 4.0) Funding None. Communities (optional) None selected. Possible: a comparative religion or archaeology community, if one accepts preprints. Related identifiers (part of the Disclosure Series) Relation for each: References (resource type: Publication / Preprint) DOI Work 10.5281/zenodo.22239792 Culajay, J. (2026). Disclosure Series — Co-Sapient Earth: Nagatridactylus sapiens and the Evidence for a Large Native Amphibian Intelligence. Zenodo. 10.5281/zenodo.20786777 Culajay, J. (2026). Disclosure Series — The Mathematics We Inherited from NHI: Base-12. Zenodo. 10.5281/zenodo.20768253 Culajay, J. (2026). Disclosure Series — From the Water: The Creator Who Comes From the Deep. Zenodo. 10.5281/zenodo.19688370 Culajay, J. (2026). Fractal Sapience in the Age of Disclosure: A Terrestrial Framework for Interpreting Non-Human Intelligence, Mythology, and UAP Phenomena. Zenodo. 10.5281/zenodo.17048770 Culajay, J. F. (2025). The Amphibian Hypothesis: The Nazca J-Type Mummy, Tridactyl Morphology, and the Hidden Evolutionary Puzzle (Version 1). Zenodo. 10.5281/zenodo.20672345 Culajay, J. (2026). "Rectamphibius tridactylus" — A Provisional Classification of the J-Type Tridactyl Specimens. Zenodo. 10.5281/zenodo.23108917 Culajay, J. (2026). Disclosure Series: Erectosuchus sapiens — Candidate Bipedal Archosaurian Specimen. Zenodo. 10.5281/zenodo.23381097 Culajay, J. (2026). Disclosure Series: Homopan tridactyla — Origin and Role in the Ancient World. Zenodo. 10.5281/zenodo.23380598 Culajay, J. (2026). Disclosure Series — Kashyapa's Catalog: Vedic Taxonomy, the Siwalik Fossil Record, and the Pliocene-Pleistocene Faunal Event. Zenodo. 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