Prehistoric Science – Complex Mathematics Encrypted in Art

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

Despite appearances, the Stone-Age engraving pictured here is not a free-hand drawing. It is constructed to exact specifications with revealing accuracy. It is to be treasured, because it proves that even 14,000 years ago someone had a profound knowledge of Mathematics, and a method of encoding exact ideas into Art.




The work comes across as constructionist, and modern once we see through its pseudo-naive facade. Art can express ideas, and even exact ideas like this image, which has a hermetic level fully impregnated with mathematical meaning. As such, the engraving is cryptographic Science-Art with emphasis on the 'cryptographic' and 'science'.
It leads to conclusions about our past in dramatic contrast to the mainstream History. The unprecedented image is precedent to many topics of interest, some encountered throughout ages. The portrait of the young lady is so laden with science, and power, it glorifies her with divine aura. For that reason I named her Athena, and the engraving after her..
Once my research had hit the vein of advanced prehistoric mathematics, it became primed to recognize similar  phenomena elsewhere - in the layout of the Giza pyramids in Egypt, the adjoined temples there, engraved glyphics at the Abydos temple of Seti I and Ramses II, or the giant glyph of a monkey from the Peruvian Nazca Lines. All are exact constructs, at whose birth stands the Golden Section. Three works - Athena, the monkey, and the ground-plan of Giza pyramids -  are connected, as documented here, by featuring the fastest construction of the regular pentagram (it takes only thirteen steps, yet, is little known) .
This report now covers a lot of ground and a long timeline. My suggestion is to start reading it from the most recent chapter -  "Laying out the Great Giza Pyramids from a Line Segment."  The chapter presents an academic effort, whose virtues may be objectively weighed against the rest of the field. Whereas in other cases my research ran a one-horse race, here I ventured into a problem, which has been worked on since 1883 by significant numbers of researchers from all over the world. Leading such a distinguished field with the best result, even a convincing solution, earns some merit points. Even an incurable skeptic must accept that the next best solution (Legon's) is an order of magnitude less accurate. All the other solutions I have seen are grossly off the mark, but Legon comes very close in some cases, uncovering a whole level of mathematical meaning. In fact, this study uses three of his insights, the most important of which says that the North-to-South span of the pyramids expresses the Square Root of Three in cubits (1000√3) to four significant digits (1,732) in Legon's study, and  six digits,(1,732.05 cubits) in this study.
Yet, Legon's plan is not a clean reconstruction, as some elements are a bit off their mark. Also, Legon makes the task much easier by not starting from scratch, but rather with the Great Pyramid already in place. In contrast, my plan starts from a clean slate.




                       Part 2 – Ancient Egypt



Laying Out the Great Giza Pyramids from a Line Segment

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 a high standard.   
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 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?  I suspect, not very.


                                           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 leads 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?

Geometric basis of the Athena Engraving



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Early on, I had translated some elements of the drawing into the above configuration. There is a cone and there is a square. These are found superimposed over each other, and some harmony between the two is visible right away.
I was left wondering, the arrangement didn't seem accidental. The chaos just wasn't there. Still, I had no idea that the design was a classic. Eventually, after a couple of months, or so, I found a complete solution to the configuration.
The reader should wholy absorb the sequencing of those events: At first, I had identified primitive geometrical elements in the engraving. These became positionally fixed as parts of the emerging puzzle. I was searching in the dark, the experiment was in no way under my control, and the odds were heavily stacked in favor of Chaos rather than Intelligent Design from the viewpoint of Geometry being the image's true nature. It was a one-in-sextillions shot. Had I failed as expected, I would have written the whole thing off as educational fun. Sure, but you can find some order in a any drawing, the critics will say. 
They are right! But, what will that order be typical for? It will be typical for chaos. It will certainly not be typical intelligent order. Understanding this, and then checking out the great theoretical depth of the engraving, the reader might glimpse the truth. I have myself experienced incredulity at the thought that engravings like these burst at the seams with high level geometric code from some advanced prehistoric agency. If all I ever had to go on was just the Athena engraving, I'd probably not believe my own analysis. That's how fantastic this phenomenon is. But, my own incredulity cannot get past the hard fact of success in analysis of other ancient artifacts. It was due to the advantage my research drew from things learned from the Athena Engraving. 
As I was discovering the Cone and Square configuration, I had no idea that it was priming my path right into the center of a great controversy with topics like the Golden Section & Ancient Egypt, Lost Science, and Lost Advanced Civilisation, as well as Alien Visitations. Magdalenian science-art is where the mystery begins, but where it ends, nobody knows. 



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        Athena Engraving

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 Semantic Game - Important Quotes

Boundary lines form the simplest aspect of the image - the 'Frame'. The distances between points of the Frame in millimeters give a set of thirteen whole numbers. It is a Smart Set, probably the smartest one of all, 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, and 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 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      

Equinoctial Precession  -  rates match today's state-of-art measurements   

Among the lesser lights of the Frame, the following approximation of Pi appears five times!

355 / 113 =  3.141592.. the Frame encodes the rate of equinoctial precession at par to our modern value. This fact suggests that this 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?
Equinoctial Precession - the Osiris Numbers - number 432


                   Approximations of Pi, Phi, equinoctial precession, Osiris nmbers


  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 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

I took the liberty of reorienting Lwoff's drawing so the figure's feet are firmly planted on the ground.  
This way the stance looks natural.

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 is 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 happens to imitate my high school grad picture. This is quite an 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  -  Send me a few words. :  mynnameatyahoodotcom                                   Discussion Forum               

External Links of Interest
http://www.bibliotecapleyades.net/esp_finalidad.htm