Saturday, February 11, 2012

The Abydos Helicopter - A Question Of Geometry

In Egypt there is a Temple in Abydos to Seti I also known as the Great Temple of Abydos.  While not the oldest of the buildings in Abydos, its origin dates back to 1290 to 1279 BC,  The temple was begun by Seti and finished by his Son Ramses the Great.   There are numerous temples and buildings in this area which was  called Abdu by the Egyptians and then Abydos by the Greeks.  A number of Pharonic dynasties made their mark here, building temples and burial chambers to their kings.

Its also the place of a great mystery that has troubled Egyptologists for a number of years and has excited onlookers who are able to see what appear to be a whole series of flying machines on a lintel above one of the columns in the Great Temple. I say "appear" because Egyptologists seek to explain that this is NOT what these images suggest at all, but are instead the result of two or more layers of stone that have fallen away from each other in order to create a composite image, effectively an accidental image.  According to Egyptologists, this is not something that exists as it appears.  During tours of the temple, this one interesting element is not pointed out to visitors.  There seems that there is a policy in place to simply ignore this aspect of the structure. 

The explanation by leading Egyptologists is that the markings that look like a helicopter, glider and perhaps hovercraft of some kind, is that the details were the result of plaster falling off the surface of the stone which had been placed over to hide the markings underneath by a succeeding dynasty.  The argument made by Egyptologists is that these craft are merely the result of chaotic forces, of chance, creating an illusion of something that simply isn't there.  This is something that Egyptologists call a palimpsest.  

New Note 2/13:  The argument that they make is that this is actualy a composite image, the result of two layers showing through resulting in this accidental result.  Damage or loss of layers is also part of the argument.  It was caused by accident/chaotic forces.  The other issue involves the glyph of the hand in the upper right corner.  Its called a hand by scholars, and while it does look like a hand, there is one very troubling issue with it, which is that there are NO KNOWN glyphs showing the hand that are as stretched or distorted as this one at Abydos.  All hand glyphs show a specific proportion, and the "hand" in the above hieroglyphic is over twice the length of a normal hand!  

Below is a standard glyph of a hand with a comparison of the glyph at Abydos.  
                 the hieroglyph d doesn't fit the glyph
the hand hieroglyph is not a good fit here

The argument is that this is all accidental, and we are just seeing something that does not exist except in composite or the result of damage.  Inscriptions were made on the lintel and then were covered with plaster to alter what was underneath to some degree. When the plaster fell off the stone inscriptions, it resulted in changes to the structure beneath.  Sometimes there is a blending of imagery that can make one believe they are seeing something that just isn't there.  I am going to include in this post some very interesting geometric analysis of the above image done by Jiri Mruzek which I think you will find compelling 

              Above:  images of the flower of life on vertical slab at Osirian Temple.

                                 Above:  closeup of the Flower of Life inscription.

For more information on this interesting image and the many other forms that can be derived from it (such as the Kabalah's Tree of Life) go here.

 It is worth noting, as an aside, that at an adjacent building, older than The Great Temple, is a smaller temple built to honor Osiris.  It is in this building that an image of the Flower of Life can be seen.  What is interesting about this image is that it shows up all over the world.  Its seen on the robes of monks in zen monestaries in Japan, it shows up in Europe and is in Egypt.  What's even more interesting is that when the Flower of Life design is expanded beyond its traditional border, a 3-D image of a cube emerges, often called Metatron's Cube.  This is a series of spheres that serve to make not a flat pattern but a cube which is made up of a number of circular cells.  To add to this, some are now claiming that the image etched onto the stone is done without the aid of pigment or dyes, but is actually etched somehow INTO the stone itself.  Other sources explain that the image emerges as a result of the use of a red ochre, a very stable colorant used in ancient times.   Some feel that this is a model of something, a form of geometry that contains presently unknown information about the structure of something....but what, we aren't sure.  Was it meant to be a teaching tool for understanding consciousness, or was it a tool or mathematical model to help describe how energy and matter interact?  Within the flower of life the five platonic solids can be found, so it could have been a way of containing a broad range of information in one form that was so esteemed, that it has shown up all over the world (except North or South America)

The assumption most often being made about such advanced technology is that if the knowledge for building airplanes and other air ships  were developed in the ancient past, why haven't we found evidence of it? Why no flying machines being dug up in the desert or in a temple somewhere?  Its a valid question, and can perhaps be explained by saying that the images here in Abydos may have been the result of still more ancient technology, perhaps only available in drawings  or scrolls that were themselves ancient which have since been lost to time.   It is possible that this was part of something much older than those doing the decorating or inscribing.  There may be reasons that just are not clear to us as to the why.  However, the emergence of this material is itself a possible proof for airships, even if we do not find any actual airships.  There are stories emerging from India that describe air machines, constructed vehicles called Vimanas that were used to fly all over the earth and out into the celestial realm.  

Consider that in India there is a book referred to as the Ramayana which describes Vimana as a double-deck, circular aircraft with portholes and a dome on its top.  It was described as flying with the speed of the wind and made a melodious sound.  Ancient texts on VImana are very numerous.  The ancient Indians wrote what amounted to flight manuals on the the control of various types of Vimanas.  There were four types of these craft:  the Shakuna, Sundara, Rukma, and Tripura Vimana.  At the very least, these accounts are very curious.  There is nothing about the accounts that would suggest that these books or writings were done in any kind of jest, a kind of ancient science fiction, that we can tell. For many, they are set aside as mere curiosities (perhaps because what they could represent is too troublesome to contemplate.  

It turns out, though, that other airships have emerged in other parts of the world, too, and there are some important elements that serve to lift these objects above mere fantastical models or delightful bird jewelry.  In South America, several craft in the form of medallions and jewelry show delta winged craft.  Realize that a delta wing craft bears no resembelance to a bird, but is something that emerged as a result of our own development of motorized flight in the last 100 years, and is one of the few ways to properly stabilize the rear portion of the plane and help it to steer properly through the air.  No bird has this device as part of their flying apparatus.  The forms from South America show an open cockpit, windshield, wings and the delta wing in the back.  When scanned and built to scale in the current day by a group of interested engineers, their model took off and flew on its first flight!  So on the one hand, we may not have an intact craft to point to, but we do have some very fascinating images as well as miniatures that are all extremely specific to the engineering requirements for flight.  Understanding how a delta wing operates would very likely require a working vehicle and not just a model in order to refine the development of the rear wing orientation.  It would be difficult to develop a model since it would likely involve a series of strings that would allow the individual to pull the model so it could attain the lift needed for flight and then to have another string (actually two in all likelihood) for turning the rear tail section to see how it would affect turning in flight.  

If you would like to see images of these planes, you can go to this post written last year about the same issue, but with less depth than this article.  Planes.  (this link will open a new window in your browser so you do not lose your place on the blog)

What follows is the analysis by Mruzek, describing how proportions emerge throughout the objects, more than just suggesting that the work was more than the result of an accident whereby some material was destroyed while other portions remained, creating a composite, which is called a  palimpsest


Egyptians Knew the Golden Section - Reconstruction as Proof

Contrary to being chaotic, the Abydos Helicopter scene is a deliberate creation. Its order is of the highest magnitude, being based on the historically famous Golden Section. The palimpsest explanation is simply out of the question, because one can just fire up a CAD program, and easily recreate the area under the helicopter in its exact main proportions from memory. The engraving utilizes Geometry, and the layout of the area is a variation on the basic Golden Section, wih emphasis on Golden Rectangles. The measure of ability to produce a given item measures understanding of that item. Pure opinions are hard to measure.
To begin with, golden rectangles in the area are quite auspicious, and beg testing. 
To test the area under the helicopter for golden section proportions I had assumed the semicircle's diameter as the starting unit for the construction below.

1 -
a unit (semi)circle 
2 -
an axis 

Above - The semicircle in the glyph looks quite true, when tested by a circle. 

The usual construction begins with the six operations, or steps, as shown above. Circles '4', and '5' help in obtaining the axial cross, and are discarded afterwards. After this we have a choice of two operations, which will produce the Φ-ratio in the position. The diagram below uses the big green circle concentric with the red circle.
The yellow circle represents the glyphic semicircle, and becomes the red circle in the diagram below. The green circle from above is replaced by the blue square below.

the classic Golden Section construction
The diagram of the classic Golden Section was imported into the Abydos image by scaling the unit circle to the semicircle in the image. As seen below, this experiment worked like a charm.

We are looking at the proof that the glyphs are proportioned by the Golden Section along the horizontal axis. The area under the helicopter is sectioned by vertical lines into Φ proportions. 

If the semi-circle's radius counts as 1 then the
breadth of the row of six columns on the horizontal axis is (Φ²)  2.618..  From the semi-circle to the left on the axis
we see successively the distances of  
  0.5  ←→ 0.5 ←→ Φ-1 (0.618..)   ←→  Φ-1 x Φ-1 (0.381966..)   ←→ Φ-1  

and combined distances like

    1   ←→  Φ (1.618..)   ←→  2   ←→    Φ² ( 2.618..)

Above - A square divided by golden grid
The square that we employed for the Golden Section turns out to fit the square formation of columns, and triangles.
To get to its present location,
the square rotates 45 degrees, and slides to the area's boundary on the left. Then it slides down, until the x-axis becomes the square's upper Golden Section divide (below).

the square is inscribed in a circle with a diameter of two Units

The square fits the glyphic square of columns, and triangles very well on three sides, but we do see a bit of imprecision at the top. But, this is amply made up for by the accuracy of the Φ-rectangles within this square.
Here, it should be pointed out that it is the triangles, which give us the width of the square, and actuate the golden  proportion. According to Egyptologists' chronology, the columns came first, but according to the reconstruction by the Golden Section, the points of the square had been given  before any corresponding columns could be created

The columns and triangles form golden ratios

Horizontal lines from
E, and F, with the vertical line from H, divide the square into golden sections. The lines are set by both the top and bottom of the middle triangle row,  the upper columns, and by the upper edges of the inner rectangles at bottom left . The square as above contains no less than eight Golden Rectangles, plus corresponding squares. All fit the layout of the engraved square really well.

• Two big golden rectangles: horizontal width = 2.618..units, height = 1.618 units 
• Golden rectangles based on the unit circle (base 1 unit long, height 0.618)

We can recreate the golden rectangle limiting the area under the helicopter, because its left bottom corner coincides with the square's corner. The big rectangle from under the helicopter just happens to also be the perfect container for the upper two craft on the right, as well, if we see the plane as transporting a suspended object.  The plane's horizontal axis, which seems engraved in, is at the same time a Golden Section line for the rectangle. 
The rectangle on the left contains five smaller golden-rectangles, and they all fit the engraving. The entire area under the helicopter forms a perfect Golden Rectangle, when t
he helicopter's belly rests upon the upper line of the rectangle, although it's hard to see at this resolution. Fortunately, this marvellous [sic] fit is easy to see in the blow-up below.
(end of quoted document)

You can see the entire analysis that Mruzek makes here

 I wanted to include the proportional data here to suggest the possibility that there is more to this than meets the eye....or DOES meet the eye!  I think its a fascinating possibility.  For myself, I do not buy into the ET hypothesis.  Why can't humans come up with this stuff?  Why must it always come from off the planet? We essentially have the same brain as we had three thousand years ago, and even seven thousand and it stands to reason that while we might not have had the technology as a result of the particular arc of how civilization had developed up to a certain point, this doesn't preclude the possibility that we HAD developed all kinds of technology in our distant past, with most evidence of it having been destroyed.  When I hear the argument about the physical evidence, I can understand, but some things aren't so strange....dynasties destroy the great works of their predecessors, and remarkable things can wind up on the dust heap...

1 comment:

AIDY said...

Absolutely amazing!