The “Son of Man” and the “Ancient of Days”

An Attempt to Interpret a Personal Experience

On July 13, 2026, in Budapest’s Rózsák tere (Square of Roses), I captured a photograph that became a significant milestone in a spiritual process years in the making.

This square is a profound spiritual intersection. Even Pope Francis visited the site to meet with the poor and refugees. It serves as a literal crossroads of faiths: at its center stands the neo-Gothic Church of St. Elizabeth of the House of Árpád, neighboring a Greek Catholic Church. The square also hosts the Diamond Way Buddhist Community center.

Running through it is Dohány Street, which anchors the Great Synagogue at one end and a smaller synagogue at the other, while the Fasori Lutheran Secondary School dormitory also stands on the square.

For years, I have experienced phenomena that, for me, go beyond simple coincidence. I see formations in the clouds recurring “profiles” that do not feel random. I document these regularly, alongside daily synchronicities: repeating numbers, specific timings, and events that seem to align with an unusual precision.

At a certain point, these experiences began to enter into a dialogue with my earlier research.

Years ago, I encountered the work of James D. Tabor, an internationally recognized biblical scholar at the University of North Carolina, who for decades conducted archaeological research in Israel. His work opened for me the world of early Christianity and Second Temple Judaism in a way that felt alive and immediate. 

His book The Jesus Dynasty was not just historical reading it became a doorway.

Alongside this, the investigations of Simcha Jacobovici, especially his documentaries on the Talpiot Tomb deepened this path further. What began as intellectual curiosity slowly became something personal. This eventually led me to Jerusalem, where I visited the Talpiot Tomb myself.

                      Cement shaft and lid of 

             Talpiot Tomb / Jesus Family Tomb 

A Dialogue with Ancient Texts

The “double profile” I observed in the clouds did not appear in isolation. It resonated with something I had encountered years before in ancient texts.

In the Parables of Enoch (1 Enoch 37–71), the figure of the “Son of Man” emerges with striking clarity far beyond a simple human figure.

Pre-existence (1 Enoch 48:2–3):

“Before the sun and the signs were created… his name was named before the Lord of Spirits.”

Light of the nations (1 Enoch 48:4):

“He will be a light to the nations… and a hope to those who are troubled in heart.”

The throne of glory (1 Enoch 62:2,5):

“The Lord of Spirits seated him on the throne of his glory…”

“…and fear shall seize them when they see the Son of Man sitting on the throne of his glory.”

Communion with the righteous (1 Enoch 62:13–14):

“…they shall dwell with that Son of Man… and eat and lie down and rise with him forever.”

Bearer of hidden wisdom (1 Enoch 49:3–4):

“In him dwells the spirit of wisdom… and he will judge the hidden things.”

These passages feel astonishingly close to the New Testament image of the glorified Christ.

In the Book of Daniel (Daniel 7:9–14), the vision appears in a more primordial form:

“His clothing was white as snow, and the hair of his head like pure wool…” (Ancient of Days)

“And behold, with the clouds of heaven there came one like a son of man…”

Here, the “Son of Man” approaches the “Ancient of Days.”

But in Enoch, he is already beside Him—enthroned, judging, eternal.

This same imagery reappears in the words of Jesus:

“When the Son of Man comes in his glory… then he will sit on his glorious throne.” (Matthew 25:31)

The parallels are too strong to ignore.

A Wider Tradition

The “Son of Man” is not limited to a single text.

It appears across ancient Jewish tradition:

In 1 Enoch: a pre-existent, heavenly judge

In 4 Ezra (2 Esdras) 13: a figure rising from the sea, “like a man,” destroying armies and gathering the people

In the Dead Sea Scrolls: fragments reflecting similar messianic expectations

In later rabbinic tradition: often identified with the coming Messiah

Between Daniel and Enoch, something shifts.

In Daniel, the figure receives authority.

In Enoch, he already possesses it.

The Image Itself 

Son of Man / Click on to enlarge 

In the photograph I took, two profiles appear:

An older, bearded figure, with closed or withdrawn expression

A younger Son of Man beside it

This immediately brought to mind the central scene of Daniel 7 and the Enochic visions:

The Ancient of Days: “hair like pure wool” (Daniel 7:9)

The Son of Man: present beside Him (1 Enoch 46:1)

The contrast is striking:

Hidden vs. revealed

Silent vs. speaking

Transcendent vs. relational

The closed eye of the older figure feels like mystery depth, hiddenness.

The younger profile seems to face outward toward humanity.

The Prophecy and the Mystery of Identity

The figure of the Son of Man originates in the Book of Daniel (Chapter 7) and is expanded upon in the Book of Enoch ancient texts that Jesus himself almost certainly studied and referenced. In these visions, the Son of Man is a cosmic judge who appears alongside the Ancient of Days.

From a prophetic perspective, the appearance of these two figures together, whether as a vision or a sign represents the fulfillment of these ancient descriptions, regardless of the specific identity of the figure. While Christian tradition identifies the Son of Man as Jesus appearing with the Father, the ancient texts maintain a certain mystery:

In the Book of Enoch, the "Son of Man" is sometimes revealed to be the patriarch Enoch himself, elevated to a divine status as a heavenly scribe and judge.

In Daniel, the figure is "one like a son of man," appearing as a symbolic representative of the righteous who receives an eternal kingdom. 

This means that the "vision" or "sign" of the double profile fulfills the structure of the prophecy itself. It depicts a divine hierarchy where a visible, human-like Savior acts in unison with the invisible, eternal Source. Even if the exact identity of the Messiah remains a point of theological debate or a "hidden" mystery, the pattern of their joint appearance serves as a sign that the era of judgment and revelation as foretold by the prophets is present and active.

Synchronicity

At this point, I cannot ignore the idea of synchronicity as described by Carl Gustav Jung. These are not just coincidences, but meaningful alignments inner and outer events reflecting one another. The image, the date, the texts, the earlier research, the journey to Jerusalem they do not feel causally connected.

And yet, they form a pattern.

The Spiritual Weight of the Moment

July 13 carries its own resonance:

The third apparition at Fátima in 1917

The tradition of the Archangel Gabriel as messenger

The Jewish period of mourning in Tammuz

These layers do not explain the experience but they deepen it.

Visual Theology

What appeared in the clouds felt like a form of “visual theology.” 

A living image of something ancient:

The unity and distinction between:

the hidden source (Ancient of Days)

and the revealed presence (Son of Man)

Not as doctrine, but as image.

Not as proof, but as encounter.

From Seeing to Creating

This process did not remain external.

Through meditation and automatic painting, I began to create. Figures emerged without intention forms that echoed biblical imagery. These works feel less like drawings and more like traces of something unfolding internally.

An Open Question:

I do not claim certainty.

There is always the possibility of pareidolia.

There is always the psychological explanation.

But something remains. 

A question:

Is it possible that the same patterns described in ancient texts are not locked in the past but can still appear, in symbolic form, in the present?

Not because history repeats itself, but because the structure of perception and perhaps something beyond it remains the same.

The photograph I took at Rózsák tere is not proof.

It is a sign. 

A moment where something ancient seemed to look back.

If you'd like to learn more about James D. Tabor or the Talpiot Tomb, you can search for his name on Google or watch Simcha Jacobovici’s documentary on the subject.

Here are some helpful links to get you started:

• James Tabor’s Official Website/Blog: jamestabor.com
• The Jesus Discovery (Official site for the research): thejesusdiscovery.org

Several documentary episodes and series by Simcha Jacobovici and James Tabor regarding the Talpiot Tomb and related archaeological findings are available on YouTube.

The Lost Tomb of Jesus

This is the main documentary co-produced by James Cameron that initially brought the Talpiot Tomb to global attention. 

Full Documentary: You can find full-length versions hosted on channels like I Love Docs and Unearthed History.

The Jesus Discovery / Resurrection Tomb

A follow-up documentary that explores a second tomb nearby using a robotic camera. 

James Tabor’s "Jesus Archaeology" Series

Dr. Tabor has a more recent and academically focused series on his own YouTube channel. 

Jesus Archaeology Playlist

: Over 40 videos where he narrates the "Jesus Story" through the lens of material evidence, including the Talpiot tombs.

Key Episode: Ten Jerusalem Tombs from the Time of Jesus provides context on how these tombs were used and discovered

Zachariah 9:9 Christian vs Jewish interpretation

Today is Palm Sunday. 

Today is Palm Sunday, a day that historically marks the humble entry of the King of Peace into Jerusalem. Yet today, Israel is shrouded in the darkness of war. The sacred sites, usually echoing with the footsteps of pilgrims, stand silent and closed.

Zechariah 9:9 is a pivotal Messianic prophecy in the Hebrew Bible that describes the humble arrival of a righteous king to Jerusalem. It is most famous for its New Testament fulfillment during Jesus' "Triumphal Entry" into Jerusalem on Palm Sunday.  

Interpretations

Christian Interpretation: Viewed as a direct prophecy of Jesus Christ. Matthew (21:4–5) and John (12:14–15) explicitly quote this verse to explain why Jesus rode a donkey into Jerusalem.

It highlights the "already but not yet" nature of his kingdom: he has come in humility (v. 9), but his universal reign of peace (v. 10) is still anticipated.

Jewish Interpretation: Traditionally understood as referring to the Messiah ben David. The Talmud (Sanhedrin 98a) notes that if Israel is worthy, the Messiah will come with the "clouds of heaven," but if unworthy, he comes "lowly and riding upon a donkey".

Some modern Jewish critiques argue the prophecy remains unfulfilled because universal world peace has not yet been established

Sefaria 

Zechariah 9:9 / זכריה ט׳:ט׳

גִּילִ֨י מְאֹ֜ד בַּת־צִיּ֗וֹן הָרִ֙יעִי֙ בַּת־יְרוּשָׁלִַ֔ם הִנֵּ֤ה מַלְכֵּךְ֙ יָ֣בוֹא לָ֔ךְ צַדִּ֥יק וְנוֹשָׁ֖ע ה֑וּא עָנִי֙ וְרֹכֵ֣ב עַל־חֲמ֔וֹר וְעַל־עֳַיִר בֶּן־אֲתֹנֽוֹ׃

Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem; behold, thy king cometh unto thee; he is triumphant, and victorious, lowly, and riding upon an ass, even upon a colt the foal of a she-ass.

In the Sefaria system (and the JPS translation it uses), the term "she-ass" is the formal equivalent for a "jenny" (a female donkey), while "ayir" is translated as "colt" or "jackass" (a young male donkey).

Rashi’s Commentary on Zachariah 9:9

גילי מאד. א"א לפתור המקרא הזה אלא על מלך 

המשיח שנאמר ומשלו מים עד ים ולא מצינו מושל כזה בישראל בימי בית שני:

Rejoice greatly. It is impossible to interpret this verse except as referring to the Messianic King, for it is said: "And his dominion shall be from sea to sea," and we do not find such a ruler in Israel during the days of the Second Temple.

עני ורוכב על חמור. ממדת ענוה:

Lowly and riding upon an ass. Out of a sense of humility.

New testament  

The Gospel of Matthew (21:1–7)

The Gospel of John (12:12–16)

The Coming King of Zion

Rejoice greatly, O daughter of Zion!

Shout aloud, O daughter of Jerusalem!

Behold, your king is coming to you; righteous and having salvation is he, humble and mounted on a donkey, on a colt, the foal of a donkey.

       A Vision of Compassion on Palm Sunday

This stillness brings me back to last September, just before the High Holy Days, when I had the opportunity to be in Jerusalem. On the Mount of Olives, within the quiet garden of Dominus Flevit (the place where "The Lord Wept"), I filmed a brief, 10-minute experimental piece, directing my camera toward the Old City.

During post-production, something extraordinary emerged from the raw footage. On the low concrete wall, a downward-looking male face became visible. Above it, the jagged lines of barbed wire rested like a symbolic crown of thorns. As the setting sun hit the lens, a flare of light cut across the face, shimmering like a trail of falling rain or tears.

Psychology might label this phenomenon pareidolia, the mind’s tendency to find familiar patterns in random shapes. But from a spiritual perspective, I see it as an apparition, a manifestation that transcends any single religious label.

Whether it is Judaism, Christianity, Buddhism, Hinduism, Brahmism, the Krishna consciousness, or Islam, the core remains the same: the search for truth, the necessity of compassion, and the practice of good deeds (mitzvot). Every faith carries its own thread of mysticism, reminding us that even in times of conflict, there is a spiritual presence watching over our collective sorrow.

Synchronicity / God is everywhere

Synchronicity is became part of my everyday life for awhile. I am witnessing day by day miracles wherever I see. Click HERE for further info, please visit my previous article. 

Christ 

(tree roots)

Human Face

(among the leaves)

Einstein

 (left of church close to clock)

Maybe great great grandma?

Face of ?

Face of?

Surrealist Automatism, Synchronicity, Faith, Universe, God and much more

Those who have been following my work for a longer time know that I have been creating contemplative, experimental avant-garde films for years. For more than a decade, I also worked as a documentary photographer, and I experimented extensively with low-light photography, even using my mobile phone. At the beginning of this year, an inner impulse led me toward new artistic forms. Without any formal training or prior experience, I began to paint.

I do not follow conventional, academic painting methods. I do not possess the technical talent required for classical portraiture, still life, or landscape painting, and this was never my intention. I paint in the same way I create my contemplative films: free from dogma, minimal in tools, guided by intuition, and attuned to the rhythms of the unconscious and the Universe.

When I make films, I first allow instinct to guide me toward locations. Observation follows. There is no prewritten script. The process is based on synchronization: when the moment arrives, filming begins naturally. 

My painting process follows a similar principle, with one important difference. Before painting, I practice a meditative yogic breathing technique (alternate nostril breathing) mixed zen meditation techniques accompanied by a short prayer in Hebrew, intended to establish a connection with the eternal Universe.

Only later did I realize that this approach corresponds to what art history describes as Surrealist automatism a method of accessing the subconscious directly. Artists such as André Masson, Joan Miró, Salvador Dalí, Jean Arp, André Breton, and Freddy Flores Knistoff explored similar processes.

The results surprised me. Manifestations of the subconscious began to appear on paper in abstract form. The painting titled “Christ” is the only one I named and only after it was completed. It was created on acrylic painting paper rather than canvas. 

After breathing, prayer, and meditation, I asked a single question:

“Who are you? Reveal yourself.”

What followed was an intense, almost ecstatic act of painting, using only my hands. The colors were chosen randomly. 

The outcome was both astonishing and unsettling: the image of a suffering Christ emerged a head portrait on the cross, slightly turned to the right, with a crown of thorns. 

Although I am not Christian and do not believe that Yeshua bar Yosef “Jesus, son of Joseph” was bodily elevated to heaven as God’s only son, the figure was unmistakably recognizable to me.

A few months later, I painted a female portrait that can be interpreted as Mary, positioned symbolically above the “Christ” painting.

The works are palm-sized and require slow, patient observation to reveal their details  inch by inch, millimeter by millimeter. For those lacking patience, a subtle guide may help: the woman’s face appears in the corner of the composition. She holds her child with her left hand. The child’s head appears disproportionately large, even slightly Asian in appearance, while the mother’s face carries European features and a pale complexion.

Reading Isaiah chapter 53  whether in the Hebrew Bible (Tanakh) or in the Christian Old Testament continues to raise unresolved questions. Does the “Suffering Servant” represent the Jewish nation, as Orthodox rabbinic tradition teaches, or does it refer to a messianic prophecy fulfilled in Jesus, as Christian theology claims?

Personally, I find myself closer to the interpretations of James D. Tabor, whose book The Jesus Dynasty offers valuable insight into first-century Judaism, the apocalyptic movements surrounding John the Baptist and Jesus, early Christianity, and the archaeological findings associated with the Talpiot tomb.

All four paintings “Mary with the Buddha-faced baby Jesus,” “Christ,” “John the Baptist,” and the most recent “Abraham” were created using the same method.

In my daily life, I frequently experience synchronicities: repeating numbers on clocks, mirrored or reversed digits, and moments when words I am reading are spoken aloud simultaneously on television. I also observe cloud formations that resemble angels, infant faces, human or animal figures, sometimes photographing them with my phone. 

Psychology and neuroscience would likely describe these phenomena as pareidolia or visual projection. I do not reject this explanation outright. However, I believe that human perception is not merely a biological mechanism but also a conscious and emotional participation. Not everyone sees the same things, nor perceives them in the same way.

It is important to clarify that, in my view, the Shroud of Turin is a human-made artifact. I do not consider it acheiropoieton not an image created without human hands, nor the result of a supernatural process. This position does not diminish its historical or cultural significance; rather, it shifts the focus toward the creative, symbolic, and meaning-making capacities of human consciousness.

I approach cloud formations in a similar way. I do not claim they are supernatural in origin, yet I believe they become “readable” only to those who devote time, attention, and inner stillness to observation. Some things remain invisible to the eye, yet perceptible to the heart.

I believe in God as the Creator of the Universe, or as the Universe itself as a creative, conscious principle: breathing, hearing, healing, creating, and protecting. One does not need to be religious to experience wonder. Empathy, patience, honesty, respect, and the recognition of human dignity are sufficient foundations. Charity, kindness, and constructive thinking are essential elements in shaping a better world. Meditation, stillness, breathing techniques, qigong, tai chi, yoga, or prayer can all serve as bridges if practiced with understanding.

It is not the mind that should rule the heart, but the heart that must guide the mind. The mind is merely an antenna a transmitter between ourselves and the Universe. We are capable of manifesting both constructive and destructive realities, but the world can only become a better place if the majority aligns toward creation rather than destruction.

We are all familiar with the Ten Commandments a set of moral imperatives given to Moses on Mount Sinai. But what if these principles resonate with quantum reality more deeply than we assume? Quantum theory relies on probability; religion relies on faith. Perhaps they are not opposites.

I am not the one to prove or disprove the existence of God. Yet I ask: could the voice that spoke to Moses  “I am that I am”  be the same living, breathing, hearing, healing Universe itself?

Is time truly real, or merely an illusion? Is it a dimension? Are human beings fundamentally composed of energy?

Perhaps science and spirituality meet precisely where questions matter more than answers.

  (Jerusalem AD 70)

(Mary and the Buddha faced baby Jesus)

(Christ)

(John the Baptist )

(Abraham)

(Moses)

"Enlarge and observe the photos below. 

None of them were manipulated, only a bit color corrected the tone and increased the contrast " 

The face of a child, etc...

The face

The face (picture enlarged below)

Enlarge the upper left side of this picture. 

You will recognize the image zoomed above.

The face

Enlarge the upper cloud on this picture. 

You will recognize the image zoomed above.

looks like 2 early human or prehistoric man face. 

Enlarge the darker part at the middle of this picture.

You will recognize the image zoomed above.

Left profile picture of God

 and the Son of Man on his left side

Surrealist automatism is a method of art-making in which the artist suppresses conscious control over the making process, allowing the unconscious mind to have great sway. Early 20th-century Dadaists, such as Hans Arp, made some use of this method through chance operations. Surrealist artists, most notably André Masson, adapted to art the automatic writing method of André Breton and Philippe Soupault who composed with it Les Champs Magnétiques (The Magnetic Fields) in 1919.[1] The Automatic Message (1933) was one of Breton's significant theoretical works about automatism.

Automatic drawing and painting

Automatic drawing was pioneered by the English artist Austin Osman Spare who wrote a chapter, Automatic Drawing as a Means to Art, in his book, The Book of Pleasure (1913). Other artists who also practised automatic drawing were Hilma af Klint, André Masson, Joan Miró, Salvador Dalí, Jean Arp, André Breton and Freddy Flores Knistoff.

The technique of automatic drawing was transferred to painting (as seen in Miró's paintings which often started out as automatic drawings), and has been adapted to other media; there have even been automatic "drawings" in computer graphics. Pablo Picasso was also thought to have expressed a type of automatic drawing in his later work, and particularly in his etchings and lithographic suites of the 1960s.

https://en.wikipedia.org/wiki/Surrealist_automatism

Manger at the shadow of fascist monument

Jesus, Radnóti, Horthy and Hitler at the shadow of the shameful fascist monument at the first day of Chanukah in Budapest. The Hypocritical Hungarian government set up a manger and a X-mas tree.