The Raëlian Symbol of Infinity is the principal emblem of the Raëlian movement and the Wheel of Heaven framework: two intertwined equilateral triangles forming a six-pointed star (the Star of David) with a central inscribed symbol for the cyclic-temporal dimension. In the original form, delivered by Yahweh to Raël at the December 13, 1973 contact at Puy-de-Lassolas, that center is a swastika. A modified Western form, authorized by the Elohim at Raël's 1990 suggestion, replaces it with a galaxy-shaped spiral — a change made to ease the Israeli embassy negotiations initiated November 8, 1991 and to respect the sensitivities of Holocaust victims and the post-1945 European–North American complications around the swastika. The original form remains in use in Asian branches, where the swastika appears in nearly all Buddhist temples and carries no such complication.
\nYahweh assigns each element a meaning. The Star of David encodes the spatial dimension of infinity through the Hermetic \"as above, so below\" principle — the same pattern of organization recurring, mirror-fashion, at every scale. The swastika (or, in the Western form, the galaxy-spiral) encodes the temporal dimension through the cyclic-eternal principle, in which the top becomes the bottom and the bottom the top. The combined emblem distills the \nMass Effect\n, Fractal Cosmology, and Infinity frameworks into one image, of which Yahweh says it \"contains all the wisdom in the world.\"
\nThe reading is source-grounded: the form and its meanings are stated explicitly across The Book Which Tells the Truth (1974) and Extra-Terrestrials Took Me to Their Planet (1975), with the 1990 modification documented in the Message from the Designers foreword by Anthony Grey. Where the corpus goes beyond the source — treating the emblem as the iconographic correlate of the wider Infinity architecture — it extends the given material rather than departing from it.
\nThe source's principal designation is Symbol of Infinity, naming the emblem's function as iconographic representation of the Infinity framework; the fuller Raëlian Symbol of Infinity adds the movement's institutional context. In Yahweh's own phrasing the emblem is simply the emblem or the Raëlian emblem, registering its status as an institutional identifier rather than a bare concept. Because it is delivered by the Elohim rather than invented by the movement, it is also called the Elohim emblem; other usages include the Raëlian movement symbol, the IRM symbol (for the International Raëlian Movement), and the original Symbol of Infinity for the pre-1990 swastika form. The corpus uses Raëlian Symbol of Infinity as its primary term, the shorter variants where context makes them clearer.
\nThe emblem's two elements each carry centuries of pre-Raëlian history, well documented in mainstream scholarship.
\nGershom Scholem's Magen David: History of a Symbol (in the Festschrift for Leo Baeck, 1953; later folded into his Kabbalistic studies) established the mainstream account. Scholem found that the hexagram has pre-Jewish usage across many traditions and that its identification as the Jewish symbol is relatively recent — spreading from seventeenth-century Prague and the Central European Jewish context. The hexagram appears in medieval Jewish settings (synagogue architecture, manuscript illumination, ritual objects) but was not the principal Jewish symbol until the modern period; earlier symbols included the seven-branched menorah of the Temple and the lion of Judah. The Zionist movement's adoption of the hexagram — formalized at Theodor Herzl's First Zionist Congress in 1897 — and the Israeli flag of 1948 fixed the modern association. The name Magen David (\"Shield of David\") comes from medieval kabbalistic and apotropaic traditions tying the hexagram to King David's protection. Joseph Gutmann's The Jewish Sanctuary (1983) extended this account, which remains the consensus.
\nThe framework's own claim — that the emblem is the alliance's, preserved cross-culturally — is consistent with the scholarly finding of pre-Jewish usage. Where it extends the scholarship is in reading that cross-cultural presence as a trace of the alliance's operational reach, with Jewish adoption of the Star of David as one instance among many.
\nThomas Wilson's The Swastika: The Earliest Known Symbol, and Its Migrations; with Observations on the Migration of Certain Industries in Prehistoric Times (Smithsonian Institution Annual Report, 1894) remains the foundational study. Wilson documented the swastika as one of the oldest religious symbols on Earth, attested for at least 10,000–12,000 years, distributed across virtually every major tradition, and consistently auspicious, protective, or cosmic-cyclic in meaning; its Sanskrit name svastika (सुस्तिक, \"well-being,\" \"good fortune,\" \"auspiciousness\") is the etymological anchor. Later archaeology confirmed and extended this range: the Mezin culture (Ukraine, c. 10,000 BCE) left one of the earliest examples on a carved mammoth-ivory bracelet; the symbol recurs in Neolithic and Bronze Age Europe (Cucuteni-Trypillian, c. 5,000–3,000 BCE; Vinča, Serbia, c. 5,500–4,500 BCE), the Indus Valley (c. 3,300–1,300 BCE), the ancient Mediterranean (Greek, Etruscan, Roman), East Asian Buddhism (Chinese 卍 manji, Japanese, Korean), pre-Columbian South America, and Native America (Navajo, Hopi). Joseph Campbell (The Hero with a Thousand Faces, 1949; The Masks of God, 1959–1968) and Bernard Sergent (Genèse de l'Inde, 1997) place it within comparative mythology and Indo-European studies.
\nThe symbol's modern rupture came from Europe. Nineteenth-century scholarship — Friedrich Max Müller's Indo-European philology, Ernst Haeckel's cultural anthropology, the Theosophical movement (whose seal carries a swastika) — conflated an \"Aryan\" linguistic-cultural identity with a racial-political one. The Nazi regime then adopted the tilted, clockwise Hakenkreuz as the NSDAP symbol (1920) and the German national flag (1933–1945), one of the most consequential appropriations in modern history. After 1945 several European states legally restrict the symbol's display (with religious and educational exceptions), and reception in the West remains fraught; Mukti Jain Campion's The Swastika: A Symbol Beyond Redemption? (BBC, 2014) surveys efforts to separate the pre-Nazi religious symbol from the Nazi one. The Raëlian movement's 1990 modification is one such institutional response. As with the hexagram, the framework's reading is consistent with the scholarly picture of cross-cultural auspicious-cyclic usage and extends it by attributing that breadth to the alliance's operational presence.
\nRaël proposed the modification in 1990, roughly a year before the embassy negotiations formally opened on November 8, 1991 (the Jewish New Year) with a request to Israel's Chief Rabbi for extraterritorial status for the embassy site. It was therefore proactive — an attempt to remove an obstacle in advance — rather than a response to any Israeli demand, and it was made out of respect for the sensitivities of Holocaust victims. The change applied only to Western branches; Asian branches, where the swastika appears in nearly all Buddhist temples within its pre-Nazi meaning, kept the original. It was iconographic, not doctrinal: the cyclic-temporal content carried by the swastika is carried equally by the galaxy-spiral, and the Infinity framework is unchanged. Susan J. Palmer's Aliens Adored: Raël's UFO Religion (Rutgers University Press, 2004), the main scholarly treatment, reads the decision as a reasonable institutional accommodation consistent with the movement's stated values on respect for victims of historical violence, rather than as doctrinal compromise or public-relations maneuver.
\nBroader work on religious symbolism supplies the theoretical frame. Mircea Eliade (Patterns in Comparative Religion, 1958; Images and Symbols, 1952; The Sacred and the Profane, 1959) reads religious symbols as hierophanies, manifestations of the sacred in ordinary matter. Carl Gustav Jung's Mandala archetype (Mandala Symbolism; Aion, 1951; Mysterium Coniunctionis, 1955–1956) is a close structural parallel to the emblem's form. Erwin Panofsky's iconological method (Studies in Iconology, 1939; Meaning in the Visual Arts, 1955) and the semiotic tradition (Saussure, Peirce, Eco, Greimas) frame how such signs carry meaning. Within this field the emblem is distinctive for three things: it combines two pre-existing symbols precisely, its meaning is attributed explicitly to Yahweh, and it carries a specific institutional history. Methodologically the entry sits within this tradition; it diverges only in its cosmological claim, reading the two symbols' worldwide recurrence as evidence of the alliance's presence rather than of independent invention and diffusion.
\nJean Sendy, Mauro Biglino, and Paul Anthony Wallis engage the emblem only glancingly: Sendy's work on the alliance-mediated Hebrew Bible touches its iconography, Biglino's strict-translation approach stays textual, and Wallis's alliance-mediated history does not treat the symbol at length. The entry therefore rests on the Raëlian source material and corpus development rather than on these authors.
\nThe core material is the Yahweh-delivered passages in The Book Which Tells the Truth (1974) and Extra-Terrestrials Took Me to Their Planet (1975), with the 1990 modification documented later.
\n\n\n\"The emblem you see engraved on this machine and on my suit represents the truth. It is also the emblem of the Jewish people, the Star of David, which means: 'That which is above is like that which is below', and in its center is the swastika, which means that everything is cyclic, the top becoming the bottom, and the bottom in turn becoming the top. The origins and destiny of the creators and human beings are similar and linked.\"
\n
The passage fixes the emblem's form (Star of David with central swastika) and its origin: it is engraved on the alliance craft (\"this machine\") and Yahweh's suit — the alliance's own emblem, later adopted by the movement as the teaching's vehicle. It assigns the Star of David the Hermetic \"as above, so below\" (the spatial dimension, developed in Fractal Cosmology) and the swastika the cyclic principle (the temporal dimension, developed in Mass Effect and, for the wider cosmic cycle, Cosmic Chain). Its identification of the Star of David as \"the emblem of the Jewish people\" places Jewish usage as one instance of a symbol the alliance has carried across many traditions. The closing line — \"the origins and destiny of the creators and human beings are similar and linked\" — reads the emblem as a statement that the Elohim's situation parallels humanity's within a recurring cycle of created-and-creating civilizations.
\n\n\n\"With regard to the origin of life on Earth, some people might say: 'Your explanation doesn't change a thing, since you cannot say what there was at the very beginning.' This is a foolish comment, which proves that the person who makes it has no awareness of infinity, which exists in time as well as in space. There is neither a beginning nor an end to matter, since 'nothing is lost, nothing is created, everything is transformed,' as you have already heard it said. Only the form of matter can change according to the wishes of those who have reached a scientific level, which allows them to accomplish this.\"
\n
\n\n\"It is the same for the infinite levels of life. That is what the second part of our emblem represents. The Star of David, which is composed of two intertwined triangles, means 'as above, so below.' With the swastika, which signifies that everything is cyclic, in the middle of a six-pointed star, you have our emblem, which contains all the wisdom in the world. You can also find the two symbols together in ancient writings like the Bardo Thodol or Tibetan Book of the Dead, and in many other writings as well.\"
\n
Here the emblem is framed as the \"second part\" of the teaching and as an iconographic distillation of the whole. Yahweh's claim that it \"contains all the wisdom in the world\" is unusually strong for the corpus, marking the symbol as load-bearing within the framework. The cross-reference to the Bardo Thodol (the Tibetan Book of the Dead), and the phrase \"many other writings,\" present that text as one instance of a wider cross-cultural preservation of the two symbols together — treated below under Comparative observations.
\n\n\n\"Already, in 1990, as a sign of their special feelings towards the people of Israel, the Elohim agreed to my suggestion to modify their original Symbol of Infinity when used by Raelian Movement branches in the West. The central swastika, which means 'well-being' in Sanskrit and also represents infinity in time, was replaced with a galaxy-shaped swirl. This change was made in an effort to help the negotiations for building the embassy of the Elohim in Israel and also out of respect for the sensitivities of the victims who suffered and died under the Nazi swastika during the Second World War. In Asia, where the swastika can be found in most Buddhist temples and where it represents infinity in time, the original symbol is not a problem.\"
\n
The account is procedural — Raël proposed the change, the Elohim authorized it, and the movement applied it in the West — and it records both rationales (the embassy negotiations and respect for Holocaust victims), the swastika's Sanskrit sense of \"well-being,\" and the preservation of the original form in Asia.
\nThe source ties the emblem to Raëlism itself — \"an atheist one — that of infinity as represented by their symbol\":
\n\n\n\"We are now today's human beings using tomorrow's technology, with yesterday's religions and yesterday's thinking. Thanks to the Elohim, we will be able to reach new spiritual levels by embracing their own religion - an atheist one - that of infinity as represented by their symbol. The Guides of the Raelian Movement will become the priests of this new religion, allowing human beings to feel in harmony with the infinitely small and the infinitely large, allowing them to realize that we are stardust and energies forever.\"
\n
The symbol is thus the iconographic sign of the whole religion of infinity, with the movement's Guides cast as its priests. The wider treatment lives in the Raëlism entry.
\nThe outer figure is the Star of David: two equilateral triangles, one pointing up and one down, superimposed into a six-pointed hexagram, producing six points and a twelve-segment hexagonal outline. At its center sits the cyclic-temporal element. In the original form (1973 onward, still used in Asian branches) this is a swastika, oriented in the Asian-Buddhist rather than the Nazi manner — the two are distinguished by orientation, the angle of the arms, and visual style. In the Western form (1990 onward) it is a stylized multi-armed spiral galaxy.
\nThe two triangles encode the \"as above, so below\" principle. The upward triangle stands for the macrocosmic scales (planetary, stellar, galactic, intergalactic, and beyond), the downward one for the microcosmic (cellular, molecular, atomic, subatomic, and beyond); their intertwining asserts that the same organizing patterns recur at every scale. The principle is the Hermetic one preserved in the Tabula Smaragdina (Emerald Tablet): \"Quod est inferius est sicut quod est superius, et quod est superius est sicut quod est inferius, ad perpetranda miracula rei unius\" (\"That which is below is like that which is above, and that which is above is like that which is below, to accomplish the miracles of one thing\"), later developed across the Renaissance Hermetic and Western esoteric traditions. This is the emblem's contribution to Fractal Cosmology: the spatial, self-similar dimension in iconographic form.
\nThe swastika's four arms turning about a center encode cyclic time — the top becoming the bottom, and the bottom the top. Its Sanskrit sense of \"well-being\" fits this cosmic-cyclic reading, in which successive cycles renew the opportunity for civilizational development; Raël glosses it in the 1990 context as \"infinity in time.\" This is the emblem's link to Cosmic Chain: the recurring cycle of created-and-creating civilizations, distilled to a single figure.
\nThe galaxy-spiral carries the same cyclic-temporal meaning by a different image: the rotation of spiral arms about a galactic center over cosmological time. It also doubles as a reminder of scale — the galaxy as one tier of the fractal hierarchy, echoing the rotational patterns found in atomic orbitals and planetary orbits, and presumably at larger scales too. Doctrinally it is equivalent to the swastika; only the picture changes.
\nTogether, the spatial Star of David and the temporal center give the Infinity framework's two principal dimensions in one image; the third, hierarchical dimension is implied by \"as above, so below\" but not drawn separately. Yahweh's \"all the wisdom in the world\" marks this compression as unusually complete. In practice the emblem serves as the movement's principal identifier, across publications, ceremonial contexts, and public-facing materials.
\nThe original swastika form remains in use in the Asian branches (Japan, South Korea, Taiwan, and others), where the swastika's Buddhist context raises no difficulty; the galaxy-spiral form is used in the Western branches (European, North American, Latin American, and African), where the post-1945 associations do. Both are recognized within the movement as legitimate renderings of the same meaning — the difference is pragmatic, not doctrinal.
\nThe emblem is the iconographic correlate of several framework entries, each developed in its own place: Infinity supplies the cosmology it distills; Fractal Cosmology the spatial \"as above, so below\" content of the Star of David; Mass Effect the temporal scaling and Cosmic Chain the cyclic-eternal cycle carried by the swastika; Raëlism the movement whose principal identifier it is; and Embassy, where it is to be displayed. It also stands as the visual sign of the cosmological content across the precessional ages.
\nFrom the Star of David alone. The hexagram has its own Jewish history, as the principal Jewish symbol since roughly the seventeenth to nineteenth centuries; here it is one component, carrying the spatial dimension.
\nFrom the swastika alone. The swastika has deep pre-Raëlian religious use across many cultures; here it is one component, its central placement marking the temporal dimension.
\nFrom the Infinity framework. Infinity is the cosmological content; the emblem is its iconographic correlate, not the framework itself.
\nFrom the movement's other symbols. The movement also uses the Order of Angels emblem, national-branch emblems, and various ceremonial symbols; the Symbol of Infinity is the principal one, the rest subsidiary.
\nThe emblem's two elements have wide cross-cultural parallels.
\nThe swastika appears on Indus Valley artifacts (c. 3,300–1,300 BCE), before the Vedic period, giving it Indian roots that predate the Indo-Aryan migrations. Vedic and later tradition treats it as a principal auspicious sign — its Sanskrit name from sv- (good, well), asti (to be), and the -ka suffix, \"well-being\" — in temple architecture, household markings, Diwali, and weddings. Hinduism distinguishes the right-facing svastika (clockwise; day, the male principle, Vishnu) from the left-facing sauwastika (counterclockwise; night, the female principle, Kali). Both remain in wide use.
\nThe swastika is among the marks on the Buddha's footprint (Buddhapada), set at the heel or center, and it appears in nearly all Buddhist temples, standing for auspiciousness and the eternal cycles of existence. The Chinese form 卍 (manji) functions as both symbol and written character, carrying senses of \"ten thousand years,\" \"infinity,\" and \"eternity\"; Japanese Buddhism uses both the right- and left-facing forms, with meanings varying by denomination.
\nThe swastika is one of the eight auspicious symbols (ashtamangala), alongside the Shrivatsa, Nandavarta, Vardhmanaka, Bhadrasana, Kalasha, Minayugma, and Darpana. It represents the seventh Tirthankara, Suparshva, and its four arms stand for the four states of existence in Jain cosmology: heavenly beings (deva), humans (manushya), animals (tiryancha), and hell-beings (naraka).
\nThe swastika recurs across the ancient Mediterranean and Near East: on Cucuteni-Trypillian pottery and ritual objects (c. 5,000–3,000 BCE), prominently on Greek geometric-period pottery and architecture, in Etruscan and Roman religious and decorative work, and across Mesopotamian traditions.
\nThe Navajo used the swastika as a sacred sign in the \"whirling logs\" healing tradition, and the Hopi within their own cosmology, among other Indigenous nations. Many abandoned it after the Nazi appropriation — the Navajo Nation issued a 1940 declaration discontinuing its use.
\nThe hexagram itself recurs widely. As Solomon's Seal it served Jewish, Christian, and Islamic protective magic through the medieval period. The Hindu Shatkona (षट्कोण) reads its two interlocked triangles as the union of male (upward, Shiva) and female (downward, Shakti) — a close parallel to \"as above, so below\" in a different key — and the Hermetic-alchemical hexagram reads them as the union of fire (upward) and water (downward). Christian and Islamic architecture and iconography use the hexagram as well.
\nThe source's one explicit cross-reference is to the Bardo Thodol, the Tibetan Book of the Dead — \"Liberation Through Hearing in the Intermediate State,\" composed in the eighth century by Padmasambhava and Yeshe Tsogyal. Its mandalas integrate both swastika and hexagram, which is why the source names it; the added \"many other writings\" makes it one case of a wider preservation.
\nThe \"as above, so below\" of the Tabula Smaragdina, transmitted in Latin and Arabic through the medieval period, was given visual form in the Renaissance Hermetic tradition (Ficino, Pico della Mirandola, Dee, Bruno) and in alchemical illustration, often through hexagram- and mandala-based figures — the pictorial lineage in which the emblem's Star of David sits.
\nThe corpus reads the worldwide recurrence of these two figures as meaningful rather than accidental. The mainstream account — independent invention within each tradition plus cultural diffusion — it regards as insufficient to explain both the breadth of the pattern and its consistency: the hexagram tied to cosmic correspondence, the swastika to cyclic cosmos, and the two integrated in traditions as far apart as the Bardo Thodol and Hindu iconography. Its reading is that this shared inheritance preserves a common memory of the alliance's presence across cultures, each preserving the content in its own idiom — Hindu, Buddhist, Jain, Hermetic, Mesopotamian, Mediterranean, and Native American alike. The source itself names several of these: the Bardo Thodol, the Sanskrit etymology, the Buddhist temples, and the Jewish Star of David.
\nThe corpus does not discard the mainstream picture wholesale. Diffusion plainly occurred, and the traditions show both common structure and local elaboration. What the framework adds is the underlying situation that would explain the common structure — one that mainstream scholarship, lacking the cosmological premise, has had to assign to independent development and diffusion alone.
\nVorilhon, Claude (Raël). The Book Which Tells the Truth (1974); collected in Message from the Designers. The \"Watching Over the Chosen People\" content includes the principal initial passage establishing the symbol's specific form and semantic content.
\nVorilhon, Claude (Raël). Extra-Terrestrials Took Me to Their Planet (1975); collected in Message from the Designers. The \"Neither God nor Soul\" section includes the principal subsequent passage establishing the \"all the wisdom in the world\" framing and the Bardo Thodol cross-reference.
\nVorilhon, Claude (Raël). Message from the Designers. Tagman Press, 2005. The foreword by Anthony Grey includes the principal documentation of the 1990 modification.
\nSendy, Jean. Ces dieux qui firent le ciel et la terre. Robert Laffont, 1969.
\nSendy, Jean. L'ère du Verseau. Robert Laffont, 1970.
\nBiglino, Mauro, and Giorgio Cattaneo. The Naked Bible: The Truth About the Most Famous Book in History. Uno, 2022.
\nWallis, Paul Anthony. The Eden Conspiracy. 6th Books, 2024.
\nScholem, Gershom. \"Magen David: History of a Symbol.\" In Festschrift for Leo Baeck, 1953. Subsequently expanded in Scholem, The Messianic Idea in Judaism and Other Essays on Jewish Spirituality. Schocken, 1971.
\nScholem, Gershom. Major Trends in Jewish Mysticism. Schocken, 1941.
\nScholem, Gershom. Kabbalah. Quadrangle, 1974.
\nGutmann, Joseph. The Jewish Sanctuary. Brill, 1983.
\nWilson, Thomas. The Swastika: The Earliest Known Symbol, and Its Migrations; with Observations on the Migration of Certain Industries in Prehistoric Times. Smithsonian Institution Annual Report, 1894.
\nSergent, Bernard. Genèse de l'Inde. Payot, 1997.
\nQuinn, Malcolm. The Swastika: Constructing the Symbol. Routledge, 1994.
\nHeller, Steven. The Swastika: Symbol Beyond Redemption?. Allworth Press, 2000.
\nCampion, Mukti Jain. The Swastika: A Symbol Beyond Redemption?. BBC, 2014.
\nCampbell, Joseph. The Hero with a Thousand Faces. Pantheon, 1949.
\nCampbell, Joseph. The Masks of God. 4 vols. Viking, 1959-1968.
\nEliade, Mircea. Patterns in Comparative Religion. Sheed & Ward, 1958.
\nEliade, Mircea. The Sacred and the Profane. Harcourt, Brace and World, 1959.
\nEliade, Mircea. Images and Symbols. Sheed & Ward, 1952.
\nJung, Carl Gustav. Mandala Symbolism. Princeton University Press, 1973.
\nJung, Carl Gustav. Aion: Researches into the Phenomenology of the Self. Princeton University Press, 1959.
\nJung, Carl Gustav. Mysterium Coniunctionis. Princeton University Press, 1970.
\nPanofsky, Erwin. Studies in Iconology. Oxford University Press, 1939.
\nPanofsky, Erwin. Meaning in the Visual Arts. Doubleday, 1955.
\nPalmer, Susan J. Aliens Adored: Raël's UFO Religion. Rutgers University Press, 2004.
\nDoniger, Wendy. Hindu Myths: A Sourcebook. Penguin Classics, 1975.
\nDoniger, Wendy. The Hindus: An Alternative History. Penguin Press, 2009.
\nWilliams, Paul. Mahāyāna Buddhism: The Doctrinal Foundations. Routledge, 2nd ed., 2008.
\nBuswell, Robert E., Jr., and Donald S. Lopez Jr. The Princeton Dictionary of Buddhism. Princeton University Press, 2014.
\nDundas, Paul. The Jains. Routledge, 2nd ed., 2002.
\nPadmasambhava and Karma Lingpa. The Tibetan Book of the Dead: The Great Liberation by Hearing in the Intermediate States. Trans. Gyurme Dorje. Penguin, 2005.
\nFaivre, Antoine. The Eternal Hermes. Phanes Press, 1995.
\nYates, Frances A. Giordano Bruno and the Hermetic Tradition. University of Chicago Press, 1964.
\nInternational Raëlian Movement. https://www.rael.org
\n\"Magen David.\" Encyclopaedia Britannica. https://www.britannica.com/topic/Magen-David
\n\"Swastika.\" Encyclopaedia Britannica. https://www.britannica.com/topic/swastika
\n\"Star of David.\" Wikipedia. https://en.wikipedia.org/wiki/Star_of_David
\n\"Swastika.\" Wikipedia. https://en.wikipedia.org/wiki/Swastika
\n", "extra": {"alternative_names":["the Symbol of Infinity","the Raëlian emblem","the Raëlian movement symbol","the Elohim emblem"],"category":"Symbolism & Motifs","claim_type":"framework","editorial_pass":"2026-07","entry_type":"concept","infobox":{"basic_form":"Two intertwined equilateral triangles forming a six-pointed star (the Star of David), with a central inscribed symbol representing the cyclic-temporal dimension","distinguished_from":"The Star of David alone (with its own Jewish-tradition history); the swastika alone (with a long pre-Nazi religious history); the Infinity framework (which the symbol represents iconographically); the movement's other institutional symbols and emblems","modification_date":"1990 (modification authorized); November 8, 1991 onward (Western branches in operational use)","modification_rationale":"(1) Facilitating the Israeli embassy negotiations initiated November 8, 1991; (2) respecting the sensitivities of Holocaust victims and the broader post-1945 European-North American complications around the swastika","modified_central_element":"Galaxy-shaped spiral (the modification authorized by the Elohim at Raël's 1990 suggestion; in use in Western Raëlian movement branches since 1991)","original_central_element":"Swastika (the form delivered by Yahweh at the December 13, 1973 contact; remains in use in Asian Raëlian movement branches)","principal_text":"*The Book Which Tells the Truth* (1974), 'Mankind: A Disease of the Universe' chapter and 'Watching Over the Chosen People' content; *Extra-Terrestrials Took Me to Their Planet* (1975), 'Neither God nor Soul' section; the *Message from the Designers* foreword by Anthony Grey treating the post-1990 modification","source_status":"Delivered by Yahweh to Raël at the December 13, 1973 contact at Puy-de-Lassolas; engraved on the alliance craft and on Yahweh's suit; explicitly identified by Yahweh as containing 'all the wisdom in the world'","spatial_dimension":"Star of David (two intertwined triangles representing the Hermetic 'as above, so below' principle; the spatial-fractal-self-similar dimension of infinity)","status_in_source_material":"Documented; the principal passages establish both the symbol's form and Yahweh's framing of its meaning","temporal_dimension":"Swastika or galaxy-spiral (representing cyclic-eternal time; the temporal dimension of infinity)","type":"Iconographic emblem; principal symbol of the Raëlian movement and the broader Wheel of Heaven framework"},"lang":"en","lang_prefix":"","see_also":[{"description":"The broader framework the emblem distills into a single iconographic form.","path":"wiki/infinity","title":"Infinity"},{"description":"The as-above-so-below spatial dimension the Star of David component encodes.","path":"wiki/fractal-cosmology","title":"Fractal Cosmology"},{"description":"The nested-scales structure the symbol's spatial dimension represents visually.","path":"wiki/cosmic-chain","title":"Cosmic Chain"},{"description":"One of the frameworks the emblem condenses into apprehensible visual form.","path":"wiki/mass-effect","title":"Mass Effect"},{"description":"The movement whose principal identifier the emblem is, delivered by Yahweh in 1973.","path":"wiki/raelism","title":"Raëlism"},{"description":"The Israeli negotiations that prompted the 1990 swastika-to-spiral modification.","path":"wiki/embassy","title":"Embassy"}],"timeline":["aquarius"]} }, "links": { "self": "/v1/wiki/raelian-symbol-of-infinity/", "canonical_html": "https://www.wheelofheaven.world/wiki/raelian-symbol-of-infinity/", "index": "/v1/wiki/", "schema": "/v1/schema/wiki-entry/", "related": [{"slug": "infinity", "title": "Infinity", "kind": "WikiEntry", "type": "see_also", "url": "/v1/wiki/infinity/" },{"slug": "fractal-cosmology", "title": "Fractal Cosmology", "kind": "WikiEntry", "type": "see_also", "url": "/v1/wiki/fractal-cosmology/" },{"slug": "cosmic-chain", "title": "Cosmic Chain", "kind": "WikiEntry", "type": "see_also", "url": "/v1/wiki/cosmic-chain/" },{"slug": "mass-effect", "title": "Mass Effect", "kind": "WikiEntry", "type": "see_also", "url": "/v1/wiki/mass-effect/" },{"slug": "raelism", "title": "Raëlism", "kind": "WikiEntry", "type": "see_also", "url": "/v1/wiki/raelism/" },{"slug": "embassy", "title": "Embassy", "kind": "WikiEntry", "type": "see_also", "url": "/v1/wiki/embassy/" }] } }