Prehistoric Science – Complex Mathematics Encrypted in Art

 
      Part 1 - Athena Engraving - the World's Most Important Picture


Despite appearances, the Stone-Age engraving shown below is not a free-hand drawing.. It is constructed to exact ideas, with revealing accuracy. It is to be treasured as a direct proof of profound knowledge of Mathematics, playfully encoded into Art, 14,000 years ago.




The work appears constructionist once we see through its pseudo-naive facade. It has a hermetic level pregnant with mathematical meaning. It is cryptographic Science-Art.  
 Unprecedented, it is precedent to many topics of interest while suggesting conclusions about our past in dramatic contrast to the Mainstream History. The portrait of the young lady is so laden with science and power, it bathes her in a divine aura. Fittingly, after consideration of several pantheons, I named her Athena, and the engraving after her..
The discovery has begun minutes after I had first laid an eye upon the image. By then I felt that I had never seen anything like it, so ancient, and yet somehow sophisticated and modern. As time went by, my philosophical approach had metamorphosed; my research had hit the vein of advanced prehistoric mathematics. Insights gained from the engraving position a researcher for a bonus; the giant glyph of a monkey from the Peruvian Nazca Lines advertizes for attention by glaringly similar features. It turns out to be based upon the same template; therefore, if the engraving and the monkey are rule setters, all of the La Marche engravings and  Nazca Lines are authored by one and the same agency.
Thereafter, the internet controversy over the so called Abydos Helicopter from the Abydos temple of Seti I and Ramses II drew my interest; subsequent analysis indicated that these glyphs are exact constructs at whose birth had stood the Golden Section. It gives credit to the idea that the anomalous glyphs had been engraved as we see them today. It is only natural to think that the same agency could be involved in their creation. 
The Abydos Helicopter experience had carried my interest to the ground plan of the Giza pyramids, and I was able to document that the ground plan, as measured by Petrie, derives from the fastest construction of the regular pentagram (it takes only thirteen steps). That was an astonishing development, for the same method is also featured rather heavily in the Athena Engraving, while in the Nazca Monkey's concept that method culminates the construction! These three instances of the method are still the only ones I had ever come across; it seems that everybody else opts for other alternatives!
Therefore, it is disappointing to see only the Abydos Helicopter study garner attention of a steady stream of readers, while the rest of my portfolio goes unnoticed. Some people credit the Abydos Helicopter study with providing compelling evidence that the Palimpsest Theory is wrong. Fine, but the Athena Engraving, the Nazca Monkey, and the Giza ground plan are all incomparably more profound, plus, they form a mutual connection.
This report now covers a lot of ground and a long timeline. If the reader has doubts about its mettle, and doesn't know where to start, the most recent chapter on the Giza ground plan  presents an academic effort whose virtues may be objectively weighed against the rest of the field. In other cases my research ran a one-horse race; here, it ventured into a problem, which has been worked on since 1883 by researchers from all over the world. Leading such a distinguished field with the best result, even a convincing solution, earns some brownie points. Even an incurable skeptic must accept that the next best solution (Legon's) is an order of magnitude less accurate.
The "Frame", which deals with some numeric aspects of the Athena Engraving is also a good place to start reading. Besides, its creators had apparently thought so, too. The Frame's concept is transparent; its elaboration is exhaustive. Over and over, it quotes Pi and Phi to a varying number of significant digits until there is no doubt in one's mind that it's meant to be so. The Frame advertizes the realm within its bounds.



                       Part 2 – Ancient Egypt



Construction of the Ground Plan of the Great Giza Pyramids from a Clean Slate

Since 1883, the year Sir William Flinders Petrie published his geodetic survey of the three great Giza Pyramids, the data has  been analyzed for geometric, and numeric significance. To show that the three pyramids are parts of the same plan, there have been attempts to generate the layout of the three great pyramids from pure ideas. By and large, Giza abounds with inspiring relationships. But, to safely pin ideas on the designers, those have to be built in with compelling accuracy. There are many examples showcasing the knack of Giza builders for accuracy, setting high standards.   
This study presents a method of reproducing the plan of the three pyramids exactly to Petrie's specifications when the results are given to the tenth of an inch (2.54 millimeters). On average, my reconstruction differs from Petrie by just a little over a quarter millimeter, so there is plenty of room to spare. 
Usage of Sacred Geometry would seem most appropriate for the sacred grounds of Giza. This study complies beautifully, as it sets out with the most elegant Golden Section construction of all. How glad will the skeptically leaning academy be to hear of this?  Not very, I suspect.


                                           the Horizontal Column & the Rising Column



Giza Pyramid temples & the Golden Section

The pyramid temples are conspicuous by the inordinate quantity of golden rectangles in their layout.
The Abydos Helicopter & the Golden Section

 Abydoská helikoptéra & Zlatý řez  ( Czech version)


©Bruce Rawles background photographed in November1992 


If this were modern art, we would have no doubt that it clearly shows a helicopter next to a stacked formation of three harder to identify advanced craft. Disavowal stems strictly from the fact that this art is over 3,000 years old, and we know that there was no advanced technology and science in our misty past - don't we? 
The scene had caused some sensation in the nineties, but soon Egyptologists claimed to have identified at least two sets of overlapping hieroglyphics in this picture. This proffered a simple scientific explanation: What we see is a palimpsest, i.e., an accidental illusion. First there were some original glyphs, which were later hidden by plaster, and replaced by a set of different glyphs, engraved partially in stone and partially in plaster. Eventually, the plaster fell out, and the overlapping hieroglyphs began looking like images of modern craft.. With this simple explanation, science prevailed once again over sensationalism, it would seem.
The present scientific consensus depends on the assumption of Chaos as the creative force behind the Abydos Helicopter scene. To thwart the consensus, and to disprove the Chaotic explanation, it must be shown that the glyphs obey a clear rational order. Simple testing does indeed lead to such a conclusion : The Abydos Helicopter scene is not a palimpsest, it is a design.

 
                   Hesire's engraving & the Golden Section


                         Engraving of Hesire - Imhotep's colleague- on a wooden door in his tomb


This case is really simple. The rods, which Hesire holds in his hands are the keys to the solution.

Part 3 - The Nazca Monkey Report - The Seal of Atlantis



                         
14,000 – 2,000 years ago – Nazca Lines, Peru - Someone had profound knowledge of Mathematics, and a method of encoding exact ideas into Art

The mystery deepens, when we observe how the giant ground drawing of a monkey from Nazca, Peru is identical to the Athena Engraving in that it uses the same template, the same starting configuration, and encoding system. What emanates from our seemingly primitive subjects of study is abstract and elaborate scientific thought - enough evidence in fact, to force the conclusion that the creators of La Marche, and Nazca were part of the same agency. It appears that they worked on the same project - to provide legacy spanning the Old and the New Worlds across the gulf of millenia.
A stone tablet from Stone-Age France, and a prehistoric glyph from a sun-baked desert in Peru share one original template. This is a unique geometrical figure, which seals the issue of existence of an advanced prehistoric agency. For want of a better candidate civilization from prehistory, I dubbed it "the Seal of Atlantis". Honestly, trying to present a hypothesis on the identity of this Agency would be mere speculation, although one thing is obvious, the longevity, and omnipresence of the Agency from at least 14,000 BP until perhaps, 2,000 BP. Considering the potential influence of the Agency bearing upon the modern times, perhaps, it might be a good idea to learn how to read the ancient code. Its importance may be of cosmic proportions..


                                  

This configuration seems to be terribly important at Nazca, as well as La Marche.
                                               

Interesting art. An eye of a monkey, a sol spinning off balls of fire.. Did I author it? Absolutely not! Whoever did the Nazca monkey, must have had this on the drawing board once, as well.


                          Simplicity 13 - construction of a 5-pointed star in thirteen steps learned from the Nazca monkey

     
           Nazca - Giza connection

The glyph of the monkey is much simpler than the Athena engraving. Its structure seems to focus on recording the fastest method of how to construct the regular 5-pointed star, the very same method which forms the foundation of the Giza pyramids.




                                  Stone-Age France 



The rock shelter of La Marche near Lussac-les-Chateaux, southern France - a Stone-Age Academy?

Athena Engraving  - Born of Euclidean Geometry




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Early on, I had translated some elements of the drawing into the above configuration, in which a cone and a square are found superimposed over each other in some instantly visible harmony. The possibility of a logical explanation of the configuration wouldn't let me rest until I found it a couple of months later.  
The solution is a classic, yet, some people have the nerve to insist that I had conjured the solution out of thin air; so it is important to note the sequencing of the events, which, I believe, precludes untowards manipulation, or outright fraud on my part:
* The identification of primitive geometric elements in the engraving came first. For better or for worse, these had been permanently fixed in position (and still are).
* The big test came afterwards; was there a higher level, on which the elements connected logically?
The odds were heavily stacked in favor of Chaos over Intelligent Design because that was the rule for prehistoric art. From the outset, the experiment was in no way under my control, it was searching in the dark for a surprise. Had I failed as expected, I would have written the whole thing off as educational fun.
The consensus among critics insists that, in general, there is surprizingly great unintentional order, which could be construed as intelligent, in any complex drawing! Therefore, they equate an involuntary, accidental natural order to an intelligent order. They insult true intelligence by elevating an earthworm's intelligence to the same level. Understanding the axiom that a random act will produce a weak, random order, and witnessing the great theoretical depth of the Athena Engraving, should clarify that the two are not the same.
Finding the solution to the Cone & Square configuration was the critical breakthrough to a real discovery. At the time, I had no idea that it emerged right into the center of a great controversy with topics like the Golden Section & Antiquity, Advanced Mathematics in Ancient Egypt, Lost Science, Lost Advanced Civilisations, and Alien Visitations. Magdalenian science-art is where the mystery begins, but where it ends, nobody knows. 



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The geometric creations within Athena's torso belong to the Square, the second part of the basic Cone & Square configuration. Here we see the “Pyrostar” configuration.  

               The Frame

    Image boundaries - A Game of Semantics

Boundary lines form the simplest aspect of the image - the "Frame". The distances between adjacent points of the Frame in millimeters give a set of thirteen whole numbers. It is a Smart Set, enough to show off advanced knowledge of properties of numbers, Pi, Phi, Equinoctial Precession (mathematics and astronomy), as well as ability to produce brilliant logical puzzles.. 
Sadly, the very act of analyzing a set of numbers for rational meaning will elicit charges of indulgence in Numerology & Witchcraft. Yet, the Frame is a perfect illustration of what is not numerology! Numerologists apply analysis to random data, and then blatantly misinterpret their results, as revelations of hidden meaning. In contrast, the Frame smashes all records in the amount of thematic rational meaning compressed into such a small group of numbers. There is no way to improve it. It is patently artificial.

Some of the quotations given by the Frame are very impressive: 

Pi  = 3.1415926535897932384626433832     Twenty-eight decimals

Phi =  1.6180339887..                                   Ten decimals

The following classic approximation of Pi appears seven times!

              355 / 113 =  3.141592.. 

Equinoctial Precession  - Osiris Numbers - number 432

The Frame encodes the rate of equinoctial precession at par to today's state-of-the-art measurements. This fact suggests that the rate has not changed much at all since, a valuable tidbit of information. It took modern instruments in the hands of scientists to arrive at this value. What did it take in prehistory?

      


  Frame's Geometry

a: The Hex-Machine – a family of three hexagons

b: Two systematically related 5-pointed stars




                     Articles




Baalbek, Bekaa Valley, Lebanon

If the image seems too big for this page, look again. It is not nearly big enough. The panoramic view does not even span the Trilithon, the three blocks of stone in a row on the west-side of the Baalbek Terrace. They are in a class of their own, by far the heaviest stones ever transported on this Earth - Super-cyclopean, Hyper-colossal, Über-duper, or a term of your own, take a pick. The block on the right steadies the Jupiter's temple. The temple looks Roman, the platform looms alien. We know that Romans built the temple, but archaeological opinion also credits the blocks to Roman achievements. Yet, there are some hefty reasons, and some very small, but telling details, which put the orthodox academic platform on shaky ground. The blocks must be thousands of years older. Is the technology of the prehistoric agency which left us La Marche engravings, and Nazca Lines behind their anomalous existence?

The Headless Venuses

Another La Marche engraving. It is known as one of strange La Marche engravings of headless obese females. Of course, the strangeness is due to the perception being utterly wrong. There are so many other things to look at. The obese woman without a head is an illusion.

Which is more real, the circle, or the perception of an obese woman without a head?a circle, a scene, or an obese woman?


Below: A couple of impressions from another La Marche engraving.



                         






        The  Oldest  Image of  a  Horseman?


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             world's oldest image of a horseman

A cut-out from an image on a wall at Les Trois Fréres, France, 
also dating back to the Magdalenian period of the Old Stone Age.




        World's Oldest Image of a Gunfighter?




 
                                   14,000 years old image of a gunfighter

Lwoff was under the impression that this guy was dancing. I took the liberty of re-orienting Lwoff's drawing feet-down. Suddenly, the stance looked natural what with the figure's feet firmly planted on the ground.

The Face on Mars & the Golden Section

The overall shape of the famous 'Face on Mars' in terms of Geometry is a stack of three Golden Rectangles.

                         

I stand by this result, whether it is an accident of nature, or not, the formal coincidence is there.. It's not complex enough, however, to warrant a jump to conclusions about its artificiality.

                           My portrait on Mars

For reader's amusement, and mine as well, another face on Mars appears to facsimilate my high-school grad picture. This is quite a grand illusion, as 'pareidolia' goes. Strangely, the timing of my findings had coincided with the nearest approach of Mars to Earth in decades ☺

             
  Fostering love of mathematics is a calculated risk..
 
 
© Jiri Mruzek  -  Vancouver, BC, Canada 

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