In the Kishkinda Kand of Ramayana, Sage Valmiki describes a ‘wormhole’ or a ‘teleportation system’ that is located in a cave in the Vindhya range in central India. Valmiki calls it the ‘black cave’. In an incident the vanara commandos, including Hanuman and Angada, rapidly fall and are transported or teleported through this ‘wormhole’ and arrive on the southern tip near an ocean south of which is located Lanka. Skeptics must note that Albert Einstien considered the possibility of using wormholes as potential roadways for time and space travel. 

The verses of the Ramayana say that the vanaras, who are scouring the forests of Vindhya range near Kishkinda (which is from where Sugreeva the vanara-commando chief runs his kingdom), are attracted to a certain ‘black cave’ when they see what Valmiki describes as ‘swans’. The ‘swans’ are dripping with water and there seem to be fruit trees around. The ‘vanaras’ are hungry and thirsty and are looking for refuge since their hunt for the abducted Sita had not borne any fruit till then. Also, the one-month time limit that had been granted to them by Sugreeva was fast running out.

Approaching what they think is a cave where they might find water, they fall through a dark tunnel. In there they see a number of ‘lions’ traversing at great speed through this dark tunnel. The speed of these flying ‘lions’ seemed to be unaffected by darkness in the cave or the tunnel but more like a ‘wormhole’. 

What might these flying ‘lions’ have been? In verse 5 of Section 51 of Kishkinda Kanda Hanumana says, “The edibles, tubers, and fruits are all pure… golden are the aircrafts… mansions silvern… ventilators golden and encased in jewellery laces…”. The ‘jewellery laces’ seem to be a description of a string or spray of lights through the darkness of the tunnel.

A present day depiction of a ‘Wormhole’
that can transport one over long distances in a short time by bending space.

When the vanaras reach a spot where there is light, they see many golden and silver (metal) vehicles, which have seats embellished with jewels (in other words they are sleek or have lights). They also see trees with flaming fire, elegant dwellings with nets of pearls, and finally a lady in a dark deer-skin attire which appears from the description like a catsuit. The lady in the deer-skin suit introduces herself as ‘Swayamprabha’, in-charge of the dark yet golden tunnel, which she informs was designed by the celestial architect Maya for the ‘Danavas’. Maya crafted this cave as a ‘heaven on earth‘, for which an infuriated Indra later eliminated Maya. 

To cut a long story short, Swayam-prabha allows the tired ‘vanaras’ to freshen up and feed themselves, and then on the request of Hanuman transports the bewildered ‘vanaras’ out of the cave. They are transported out of the cave in an instant, but not before Swayamprabha tells the vanaras to cover their eyes – a require-ment for this instant transportation. Swayam-prabha also tells Hanuman that there was no
other way out of the cave but through her ‘ascetic’ powers.

The ‘vanaras’ including Hanuman and Angada find themselves out side of the cave but they are now close to an Ocean located south of the Vindyas and not the same spot from where they had entered. Swayam-prabha transported them to the southerly side of the cavity, avoiding other directions. 

The ‘vanaras’ find themselves near an Ocean on the other side of which was located Lanka, though the vanaras did not yet know that Sita was being held captive in Lanka. And it is therefore evident that Swayamprabha  had intentionally transported the ‘vanaras’ close to Lanka.

The ‘vanaras’ spend some time near the Ocean but in their despair of having failed the mission decide to go back into the cave because they are convinced that such was the magical and ascetic power of Swayamprabha that they would be safe in her cave.

However Hanumana is not in favour of using the cave as a hideout, the vanaras dejected though they are, wait it out and events take place in the form of the arrival of Sampaati, a giant ‘bird’, who had seen the abduction of Sita by Ravana and the information that she is accross the ocean in Lanka.

Valmiki writes that the ‘vanaras’ stay close to the cave for one full month where they devise their future course of action with the help of Sampati, a vulture, who had in the past flown in what can only be called ‘combats’ and ‘aerial duals’ along with his brother, the now dead, Jatayu. At the end of one month Hanuman finally decides that he is ready to enter the city of Lanka on his own. Incidentally, the description of Lanka that Hanuman relates and Valmiki writes in the Sundarkand section of Ramayana boggles the mind.

Back to the ‘wormhole’ story. The question is do we have any idea where that wormhole of the ancient Vindyas was located. 

The information that follows is from a report in the Rajasthan Times of 2010. It is said that a group of anthro-pologists, lead by archaeologist Mohammed Wasim Khan of the Archeological Environment Research and Tribal Welfare Society, working with hill tribes in Hoshangabad, earlier known as Narmadapura in Madhya Pradesh made a startling discovery. They found caves hidden in a deep jungle in Raisin. In one of the caves was found an amazing ancient painting.The painting shows a man or a woman in a catsuit, a UFO like flying object, and a cylindrical spring like shape. One can only wonder whether the painting depicts the scene from Ramayana which includes Swayamprabha in a cat suit, flying vehicles and a wormhole.

The ancient painting found in the
Hoshangabad caves of Madhya Pradesh.
Is this a representation of somebody like ‘Swayamprabha’ 
and the wormhole of Valmiki Ramayana?

This ancient painting, personally seen by Mr. Wassim Khan, is authentic. So is the information about the wormhole in the Ramayana absolutely authentic. To go to the source of information refer to Valmiki Ramayana, Kishkindakand Section, Section 51 – ‘The Legend of Black Cave’. Section 50 and 51. 

Since then some more ancient paintings of a higher species of super-humans, much like the aliens now depicted in movies, have also emerged in Chattisgarh. The Archaeological Survey has announced that they will take the help of Indian Scientific Research Organization to study these paintings which are estimated to be 10,000 years old. Here is a link to a report in the Times of India.

This ancient painting reportedly about 10,000 years old, from a Chattisgarh Cave in India, depicts large headed human like species with weapons in their hands.
Another Chattisgarh cave ancient painting depicts a fan-like antenna and three legs of a vehicle which show a similarity to UFO type craft.
This ancient Chattisgarh painting suggest that humans in prehistoric times may have seen beings from other planets

This is not the only instance of a description of  what seems to be ‘teleportation of matter’ in ancient Hindu texts. In the Matsya Purana, in Chapter 117 there is a similar evidence. King Puruvaru in his sojourn around the area of Mt. Kailasha in the Himalayas comes across three magnificent peaks of which the one in the centre has a crevice or a cave like opening close to it. The crevice is adorned with flowers and creepers and twiners and is appealing to the eye.  Attracted by it Puravaru goes to investigate the cave, falls through the crevice. The crevice is dark, and the fall through a distance of roughly one furlong is traumatic. Puravaru appears on the other side of this crevice in what has been described as a bright but serene place. The place is ‘high’ but circular in shape, completely covered in snow’. Here Puruvaru finds that the day, as well as night are always lit equally with the rays of sun and the sun never sets. There is no night and the moon is not visible. 

Now, this is a description of either the Arctic or the Antartica. These are the only places were the sun is always visible in summer, whether it is day or night. In this case the description is probably of the Arctic for its reference occurs repeatedly in the ancient Hindu texts, and perhaps that is why the place is described as being ‘high’ a reference to the northern direction.


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