History Paradox Book Series - Cracks of Heaven
From cracks in bone to the words that shaped two worlds...
History PARADOX - Book Series
Cracks of Heaven
Decoding the Sacred Grammar of Ancient Civilizations...
For thousands of years, civilizations have guarded the deepest faith of the human heart through symbols, scripts, and sacred covenants. From the Cracks of Heaven burned into bones in ancient divination, to recording and codifying these revelations into Oracle Bone Inscription; from the Ark-sealed law of the Bible, to the Tao-admonitions against covert harm—Word has always transcended language itself, carrying the power of creation, transformation, moral law, and an omnipresent sacred power.
This book traces a forgotten thread between Chinese civilization and the Judeo–Christian tradition, revealing how the pictographic characters and etymological roots in both Chinese and English, such as “冲” (Wash), “吾” (I), “寿” (Longevity）, “神” (God), “灵” (Spirit), and the words covert and covenant. Those words preserved the eternal pulse of an ancient moral code. Drawing on the Bible, archaeology, ancient classics and arts, pictographs, and the symbolic grammar of languages, the author uncovers the shared heritage of the ancient Eurasian world, exploring how the “Origin of Tao” and the biblical faith converge in the sacred light of truth.
Here, history becomes a dialogue across cultures and ages—once the Word is spoken, it echoes forever.
Civilizations once heard the voice of Heaven in fire-scorched fissures across bone and shell. In the procedure of oracle bone divination, cracks were not random marks of heat but signs interpreted as answers from the unseen. From this practice emerged early symbolic forms such as the Jiahu Symbols (c. 7000–5800 BCE), carved on bone and shell, which reveal traits later shared by both the Chinese oracle tradition and the Proto-Hebrew alphabet.
Origin of Baptism in ancient China from hieroglyphics "冲(Wash)“
In about BCE 1500
Oracle Bone Inscription
In its earliest pictographic form, “冲” depicts a figure descending into flowing water, with their hair submerged, and only the crown of their head above the surface. The imagery recalls Old Testament purification rites—washing before sacrifice or entering sacred space—yet the shape of the glyph corresponds precisely to the scene of Christ’s baptism in Matthew 3:16-17, representing the concept of Godhead: 16 And Jesus, when he was baptized, went up straightway out of the water: and, lo, the heavens were opened unto him, and he saw the Spirit of God descending like a dove, and lighting upon him: 17 And lo a voice from heaven, saying, This is my beloved Son, in whom I am well pleased. In this sense, the New Testament not only restores and illuminates the tradition in the Old Testament but also recovers the lost history that was inscribed in ancient China through the Oracle Bone Inscription, one of the “Six Arts,” which was lost due to the cultural rupture of the Qin–Han era. Here, the history recorded in Chinese hieroglyphs on this ancient land converges with the core tradition of Scripture, revealing a covenantal memory shared across civilizations. This ancient character serves as a direct bridge connecting Chinese history with biblical history, bearing witness to the original baptisms described in the Book of Mormon. According to the Book of Mormon, the earliest ritual occurred before the time of Jesus' baptism in the New Testament.
PARADOX
From this shared reservoir, two distinct paths unfolded: in the Central Plains of China, the fissures gave rise to hieroglyphic Oracle Bone Inscriptions, rich in pictorial imagery and ritual meaning; in the Near East, the same impulse distilled into the geometric clarity of Proto-Hebrew letters, encoding covenant and theology into minimal strokes. Together, they suggest that the origins of Hebrew and Chinese cultures may reach back to a similar symbolic source — a primordial grammar of the sacred.
These letters, like the oracle bone glyphs, were not arbitrary marks. They distilled cosmic order into sacred forms — visual divine revelation written across cultures.This book uncovers how these ancient scripts preserve echoes of the same sacred memory in culture and traditions.
In Oracle Bone and Bronze Inscription, the upper half of the character "吾(I)" depicts the lid of the Ark of the Covenant as we know it today, adorned with outlines of two angels. In the bottom part of the character "吾(I)" has a fixed structure and also appears in many ancient pictographic characters related to faith, and you can feel that when the third energy body appears in the word "Spirit", it represents the "Holy Ghost". See the picture on the right and the picture below:
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吾.I
Oracle Bone Inscription
(c. 1300 BCE)
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This book proposes that both emerged from a primordial grammar of faith. A sacred reservoir of symbols once spanned from China to the Near East, later diverging into Tao and Torah, but still carrying the same pulse of covenant.
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Why It Matters
In an age when history is often divided into East and West, these characters remind us of a forgotten unity. They show that the Word was never bound by culture. Whether inscribed on bone or sung by prophets, the Word carried creation, law, and redemption.
Carl Jung called this underlying layer of memory the collective unconscious — the archetypal imprints shared by all humanity, surfacing across cultures in symbols, dreams, and myths. Ancient Chinese traditions of mindfulness meditation and inner alchemy (丹) expressed a similar intuition: that within the depths of the human spirit dwell memories that cannot be erased, only buried and reawakened. These “imprints of Heaven” resurface not only in meditation and scripture, but also in material traces — oracle bones, bronze inscriptions, sacred trees unearthed from Sanxingdui, and forgotten glyphs that once carried divine resonance.
Cracks of Heaven invites readers to rediscover this shared heritage — to see Chinese characters and Hebrew letters not just as scripts, but as sacred windows into humanity’s oldest covenant with the divine.