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PostPosted: Mon Dec 14, 2020 5:44 am    Post subject: Reply with quote

48. An Introduction to the Face of Seqenenre Tao

A black and white image of the head of the mummy that is identified as Seqenenre Tao is available at the Egyptian Museum website.

[ https://egypt-museum.com/post/187302666356/mummy-of-seqenenre-tao#gsc.tab=0 ]

As the museum's information notes, the mummy is identified as that of the king Seqenenre Tao.

I disagree but will not defend my position here.

The purpose of this post is to try to introduce some constructed references that others might also observe on and within face of the mummy.

The mummy has severe head wounds that are supposed to have been suffered in combat or by ritual execution at the hands of enemies that captured the king. Again, I disagree that this is mummy of the king.

The face and head of the mummy are very busy with constructed references that appear also to include many hieroglyphs.

While I recognize some symbols and forms, I do not read.

Those who do read ancient Egyptian writing will better be able to recognize what I cannot.

Recommendations to Observe the Head

My understanding from study is that the wounds to head of the mummy are constructed elements within a greater composition.

Look beyond the wounds and try to see the greater composition.

Some other elements are smaller and faintly formed in textures, shades or shadows.
Tilt and roll the image as needed to adjust for better contrast to view them.

I suggest to start viewing as a small image with the head fully inside the frame and gradually magnify as needed for smaller elements.

Also, initially turn the image for the head to appear as if it is upright and not on its side.

First Image

The most obvious construct is to me the image of a standing Ba bird that is composed on right cheek of the face.

The curved puncture in the face next to the his right eye socket defines the head and beak of the Ba bird whose tail extends towards and onto side of the broken nose.

This Ba bird image seems obvious to see from a distant view (arm's length?).

Second Image

A second image is more faint and might be seen better if magnified.

The larger puncture that is above the right eye socket has the faintly shadowy image of a bird form (quail hieroglyph?) to its left side.

The head of the quail form is next to the puncture (on the observer's right).
The quail's body extends downwardlyfrom its head to stand between eye sockets of the mummy.

Increase magnification if needed to better view the faint image.

Other Images

At foot of the Ba bird (image 1) is image of a handle in a pot (mortar and pestle hieroglyph?). This image also forms the leg and foot of the Ba bird and is less easy to discern.

Next, to the observer's right, is a pot with a conical bottom.
Also, this image next ambiguously appears to be a ladle with a handle that extends from the conical pot.

Next, shift angle of view and the ladle-image appears to be a leg (section below the knee) with attachied foot. It appears like a prosthetic leg or a 3D hieroglyph.

Finally, (to right of the leg/ladle), is the split in bridge of the nose that that appears from some angle as a twisted braid of rope (twisted wick hieroglyph?).

A Few of Many

These few hieroglyphs of many are more easily visible than other constructs that the head includes.

The head of the Seqenenre Tao mummy includes many more smaller and faintly etched hieroglyphic references that can be observed under normal viewing although as very faint.

Special Viewing

The head also includes anamorphic constructs as for example can be observed at the left eye socket.

Turn the image of the head upside down and a lioness appears to peek out from a recess as composed at intersection of the left cheek and left eye socket.

Part of the left cheek under the left eye socket forms part of the head of the lioness.
The lioness seems more easily to observe if the area is magnified.

Potentially Informative

I think that hieroglyphs in the constructed references possibly might inform about the mummy, the cache of mummies in which it was found, and maybe about their significances.

Generally About Mummies

I observed in study years ago that mummies seem to be packages of information.
They seem to have been wrapped to protect from damage their contents of constructed references.

Speaking from personal observations, mummies are like representative envoys each from its time that allow some experience to be had of ancient, an amazing place and time to see and know.

I think that the history of destructions, waste and loss of mummies such as by those who carelessly burned them is truly a grievous loss for all humanity after such great efforts to prepare and preserve millennia to have been shared.
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PostPosted: Mon Dec 14, 2020 8:22 pm    Post subject: Reply with quote

(continuation from preceding post)

Try this.

If in the preceding exercise you see image of the quail (image 1) then isolate and enlarge it to fit the height of your (mobile phone) screen.

The quail image (hieroglyph) is also important as a positional reference.

After the image is enlarge, slowly roll the image to left and right (around the vertical axis.

Observe the image and also the right side area of the screen.

Also later play with the tilt angle.

Viewing from a distance (approximately arm's length or farther) might be helpful to better view the image.

If you use a desktop screen then move the screen or yourself to try different perspective angles.
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PostPosted: Tue Dec 15, 2020 5:45 pm    Post subject: Reply with quote

The Empty Throne or Seat Hieroglyph

If you have isolated and enlarge the quail (bird) image then next observe the dark area that forms its legs and lower-underside.

Carefully observe the dark area of the bird's legs.
Slightly rotate the image clockward (to right) to see the hieroglyph that appears to be an empty throne or seat with a tall back.

I describe the apparent symbol as a throne or seat with a tall back because I have not found it as a Gardiner symbol although I believe a reference exists (maybe not in the Gardiner list) . Libraries are closed again andso my resources limited.

Symbol Looks Like

The symbol looks similarly like a throne (Gardiner Q1) with its lower part like that (seat) from Gardiner A40, A41 or B1 (respectively the symbols for a seated god, seated king and seated woman).

So, the symbol formed by the quail's legs looks to be an empty seat or empty throne (with no seated human or deity form in it).

Transitional Appearance and Composition

The tall back of the seat gradually darkens as top of the image frame is tilted towards the observer.

It is as if the hieroglyph is formed of two parts (the seat and the tall back section) and the ability to fully see the tall back of the seat indicates a special condition.

A Significant Reference

In this context, the ability to see the empty throne / seat symbol is coincident with the ability to see other images that are included in the composition..

If you can see the empty throne then your perspective is aligned to see some other content that seems to answer a question that naturally arises.

Questions From Considerations

Consider hieroglyphic symbols like Gardiner Q1 (throne), A40 (seated god) , A41 (seated king), and B1 (seated woman).

The throne symbol has pointed square angles that define its seat and the other symbols have rounded features that suggest rounded parts of a human body like knees and bottom.

The symbols (A40, A41, B1) each with its rounded features also includes a seated figure.

I considered that the throne symbol with pointed angles represents an empty seat.

Also, the symbols with rounded seat features seem to include and relate to seated figures.

Then, why is the tall symbol formed by the quail's legs apparently an empty throne (with rounded points as if to suggest knees)?

Should there be a seated figure if the throne symbol appears to have knees (like A40 for example)?

Why is the throne / seat empty?

What happened to the expected seated figure (if there should be such a figure) that the symbol seems to suggest should appear seated there?

These are questions that arose in my mind.

Answers In The Image

The composition in fact answers these considerations as an apparently royal figure (the king?) appears large and regal in the composition.

If and when you see the image, observe its position in relation to the empty throne / seat symbol.

The image might not be immediately apparent to an observer.

Hold and observe the image (screen) at a distance.

I think it is Seqenenre Tao but would love to know what the involved hieroglyphics reveal.

There are also other images as the angle of view is adjusted.

To see the empty throne / seat symbol in this instance appears to be also to see the king.
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PostPosted: Wed Dec 16, 2020 12:29 pm    Post subject: Reply with quote

A Horus Form

This continues from the few preceding posts about Seqenenre Tao.

The following reference might be more of a challenge to see.

If you have successfully isolated and see the quail bird figure (as per guidance in the preceding posts ) then you might be able to see image of the larger but more subtle falcon form.

Locating The Falcon

The quail figure stands in foreground.
The quail is superimposed against a larger falcon bird that stands in background.

Neck and head of the quail are superimposed against and aligned with neck and breast of the falcon.

Solar Discs ?

Above (or on?) head of the falcon is a circle (slightly smaller than head of the falcon).

A perfect circular shape seems very strange in this context where random combative strikes are supposed to have caused all the damage.

There are two circles..

First Circle

The first circle is positioned under left-end part (the observer's left) of the long puncture in the forehead..

The first circle is also properly atop head of the falcon.

Examine the image to find the circle under the puncture and it will help to locate the falcon's head.

It might represent a solar disc but there seems to be something (in the disc?) that I can't yet discern.

Second Circle

The second circle is slightly ahead (in front) of the falcon and not on its head.

Presentation Of The Image

The body and wings of the falcon appear as if translucent and superimposed over the image of the "regal" figure that I described in the preceding post.

Beak of the falcon is at top of and at approximate center of the second largest puncture (in right side of his face).

The falcon is larger than the quail but clearly not an easy image to see.

It is something like an embossed image.

It is formed by textures and contours.
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PostPosted: Wed Dec 23, 2020 10:36 am    Post subject: Reply with quote

maat wrote:
The composition in fact answers these considerations as an apparently royal figure (the king?) appears large and regal in the composition.

If and when you see the image, observe its position in relation to the empty throne / seat symbol.

The image might not be immediately apparent to an observer.

Hold and observe the image (screen) at a distance.

I think it is Seqenenre Tao but would love to know what the involved hieroglyphics reveal.

There are also other images as the angle of view is adjusted.

To see the empty throne / seat symbol in this instance appears to be also to see the king.

The image of a woman (his queen?) appears on opposite side of the throne symbol (to the observer's left side).
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PostPosted: Thu Dec 24, 2020 12:14 am    Post subject: Reply with quote

49. Hatshepsut (Images at Djeser Djeseru)

If you successfully have observed content that is referenced in the preceding posts about Seqenenre Tao then I think the complexly constructed images at
Hatshepsut's temple (Djeser Djeseru) will prove easier to discern.

The paintings there certainly involve colors and include many more complex references in each composition.

My only recommendation here for the observer to study the paintings at Djeser Djeseru for their less obvious content is to tilt each image fore and back, roll side to side, and rotate the frame to obtain all angles of view.

Content can be found at different angles even in what initially might be considered to be the upside down position (that presents a different image or set of images).

I will not give link to one specific image here because some pictures that were taken at different angles or in different light can reveal different subtleties, effects and ultimately different content.

I recommend to search Google for "Rock Paintings of Hatshepsut Temple".
Alamy.com should (at this time) appear at top in the results.

The Alamy.com site has a good number of different images of the same paintings under under different light conditions at Djeser Djeseru.

Alamy.com has an image that I found particularly interesting.
[Image ID 2ANYAGA. 60.2MB. Contributed by Suzuki Kaku. Taken 6 April 2008.]

The image contributed by Suzuki Kaku more strongly shows certain subtle content that requires adjustment of viewing angles to see in some other pictures.

Still, the same picture does not easily reveal some other content that is more easily observed in other pictures.

That seems simply to be in the nature of anamorphic images.

50. The Statuette Khufu

Also, the famous ivory statuette of the pharaoh Khufu has amazingly unexpected content that requires high magnification to observe.

51. In Satellite Pyramid

Zahi Hawass documented his excavation of the small satellite pyramid on east side at south corner of the pyramid of Khufu at Giza.

In his published paper on excavation of the satellite pyramid, Dr. Hawass includes a photograph of three large stones that were strangely laid on floor of the chamber inside the satellite pyramid.

A smaller stone was placed atop a corner on one (middle?) of the three stones.

My finding and ultimate understanding from study is that the smaller stone is a pivot reference to suggest or indicate that rotation is somehow involved.

The stones on floor of the chamber with magnification and also with false-color digital manipulation (for example yellow, mustards, sepia, other) appear to contain composed content.

Because some of the apparent content is definitely of an anamorphic nature, rotation of the stone is required to be able to gain the correct angle to observe the included content.

The rear wall in the photograph by Hawass seems also to contain composed content.

The published (1995?) paper by Hawass is available online as a pdf.
I will post a proper link or reference to it, later (or risk having to re-type this post).

52. Base of Statue of Khufu

I don't know that this note will be fully understood at this time but still put it here.

There is a rectangular section, granite "base of the statue of Khufu" that has only two partial feet and lower part of a cartouche (of Khufu).

The section of granite base that is apparently for a large statue of Khufu and the small ivory statuette of Khufu are complements each to the other despite their differences.

Concept Supercedes Size

I noted elsewhere in this thread that size was used as a method to conceal.
Large and miniature obscures the conceptual complementary relationship.

Here, the statuette is missing feet of Khufu and the large base has only the feet of Khufu.

This might seem to be a superficial consideration but the reference holds together within a greater context of references that go from the statuette into the Great Pyramid.

All involved references are not noted here.

Some Involved Information

The statuette and granite base are related by feet of Khufu.

Feet on the base involve ten toe positions and have nine toes because the small toe on right foot is completely missing on the base.

The nine toes are a reference to the ennead as it was explained much earlier in this thread.

Tutankhamun's mummy in KV62 is also missing a toe and has nine toes.

The toes represent nine digits in a base-ten counting system
One digit (for number eight) is hidden as expressed by result from one over base 3 to exponent 4.

( 1 / 81 = 0.012345679...) and the digit 8 is absent.

The Egyptians guarded their use of number place-value method much as they guarded their artistic skills and activity.

It is still mistakenly believed today that they only produced simplistic flat or rigid drawings and that the civilization had developed no knowledge of number place-value methods. Too funny.

The base from the statue of Khufu yields certain information that leads (as was demonstrated much earlier) to produce an image from digital information.

Such images potentially can last for millions of years and never degrade.

The flail of the Khufu statuette pertains to the pyramid.
I have not explained this relationship because it first requires the flail device to be understood.

Relatable References

The granite base has two broken opposite corners.
The corner near the right foot (top to bottom) is fully broken and the corner near the left foot is only chipped.

The broken corners relate to the Great Pyramid both outside and inside.

The large break relates to the satellite pyramid at corner of the larger pyramid.
I have not yet identified a relation for the smaller break in this context.

Inside, in the king's chamber of the larger pyramid is the granite sarcophagus box with its broken corner section.

Near the sarcophagus, by the right-hand side wall (in pictures that look towards the sarcophagus from the entry area) was a large block (cube) of granite with a broken corner.

The supposed sarcophagus has a broken corner that relates to broken corner of the statue base.

The smaller granite block (found oddly in the chamber) effectively had a corner chipped from it that relates to the smaller chip from corner of the statue base.

These are a cursory few of the relationship references in which the statuette, statue base, satellite and main pyramid are involved.

Consider that feet suggest travel and distance (such as from original location of the statuette to original location of the statue base and to the pyramid of Khufu.

The ancient Egyptians constructed intricately complex references..

Excuse here my lack of proper referencing to get this post out.

So far, this thread has barely scratched fifty pages of information from my personal study notes and I wanted to put out some of the basic information from observations.

The information is informal, short and introductory.
I am not looking to go back to formalize thousands of pages and (if not already lost) hundreds of files.

At this point in this thread, it should be clear to see that constructed references spanned from the time of Khufu (if not earlier) to the time of Tutankhamun (certainly later).

Khufu, Seqenenre Tao, Hatshepsut, Akhenaten, to Tutankhamun certainly covers a long span of history during which constructed references (that included digitized information and complex even moving images) were institutionally and normally used.

I think there is much to learn from ancient Egypt about where humanity has already been.

I wonder how humanity slipped from what a few of ancient Egypt-s constructed references show was accomplished to our thinking today that our modern world is the first in human history to use digital information and create truly complex images.

Human knowledge seems fragile.

The world races forward but it seems like some ancient people had already gotten this far even if without electricity.

It might be good to recognize and unpack some of what they seem to have left.

It might sound looney but there was a reference to time-space conception (as later recognized by Albert Einstein) in the tomb of Tutankhamun.

That kind of reference is unsettling because if the world slipped so far from having gained such knowledge (even to so complexly record it), what was the ancient world really like and what happened that the world lost so much?

The span from Tutankhamun to Einstein is over three thousand years.

I wonder if (like using digitized information) there might be other things recorded in ancient Egypt that our world also forgot.
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PostPosted: Thu Dec 24, 2020 7:12 am    Post subject: Reply with quote

In the preceding post, I mistakenly wrote, "50. The Statuette Khufu".

It correctly should have been, "50. The Statuette of Khufu"

There are various images of the ivory statuette in different lighting.
Wikipedia in my opinion does not show an optimal image to magnify and study.

Still, I reference Wikipedia here to identify the statuette.
[ https://en.m.wikipedia.org/wiki/Khufu_statuette ]

For my noted sectiom "51. In Satellite Pyramid" in the preceding post -

The paper by Zahi Hawass to document the satellite pyramid (G1-d) of Khufu was published in Varia Aegypriaca. (the pdf is on my phone and I want to kick myself for not having noted the title before starting this post.

Search Google for the pdf "hawass_va_10_1995.pdf".

I also did not note the page number. The image is in the appendix section if my memory is correct.

Finally, I grossly erred in the preceding post and the fault is perfectly my own.

I captioned a section as "52. Base of Statue of Khufu" .

It could have been better identitied as
52. Fragment of Alabaster Base from a Statuette of Khufu

I then misrepresented the object as being granite and from a large statue.

The base fragment is from a (small) statuette that would not have been much larger than the ivory statuette of Khufu.

My having related the (alabaster) base with its feet to the ivory statuette with its missing feet remains valid while my indications about greatly different sizes are wrong.

The base fragment of the alabaster statuette was found with other fragments that included ears.

[ http://giza.fas.harvard.edu/objects/16581/full/ ]
[ http://giza.fas.harvard.edu/objects/16581/allphotos/ ]

I think the additional fragments have additional significance similarly as I observed and learned about the significance of the gold-trimmed eyes, ears, collar and claws of the Anubis jackal statue that was in the tomb of Tutankhamun.

Ears are in one aspect related to communication of information in digital binary form.

In the tomb of Tutankhamun were found two trumpets that I think were used to communicate binary data.

One trumpet sounded for the digit zero and the other sounded for the digit one.
Information could have been coded to secure openly sounded communication across distances.

To communicate images was also possible.

This seems to be consistent with my having found and rendered digital information in the tomb of Tutankhamun (and also at the pyramid of Khufu).

Also consider with the alabaster base that one corner of the base was fully broken off and the opposite corner was missing a chip.

The opposite corners have binary opposite references with one large break and one small. Also, one corner is wholly missing and the other is partially missing..

Such references extend into the main pyramid where the sarcophagus with a broken corner was in the king's chamber with the granite block that also had a broken corner.

The broken corner of the sarcophagus forms an empty space (a hole).
The broken corner off the block leaves a solid space.

These breaks together are binary opposites (a hole and a solid both from break of corners).

Next, deep inside the air shafts of the pyramid is blockage with what appears to be one full (or intact) handle and also a broken (or shorter) handle.

The enigmatic handles or pins are embeded in the stone blockage.
They together form a paired reference that involves binary opposites.

They are long/short, broken/intact, whole/part and present a binary signature that today can be easily recognized and related to the digits zero and one.

The ancient design of the references is truly ingenious.

Ancient Egypt was a digitally fluent and functional civilization that appears to have left an invitation for another equally or similarly intelligent civilization to recognize.

The obvious is then, to what does such invitation lead?
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PostPosted: Fri Dec 25, 2020 1:39 am    Post subject: Reply with quote

53. The Anubis Jackal in KV62 was also a Directive Reference)

The Anubis shrine in the tomb of Tutankhamun was positioned such that an observer who was proceeding in the burial chamber would encounter the black jackal figure on the Anubis shrine when they looked into the doorway to the Treasury.

Harry Burton's photograph (p1092) shows the Anubis shrine in the Treasury.
[ http://www.griffith.ox.ac.uk/gri/carter/330-p1092.html ]

The black jackal was constructed (prepared and positioned) to be a directive reference.

This construction can be regarded to be in addition to involvements of the jackal figure as an element in other constructed references.

For example, the jackal can represent a deity or several deities in constructed references that involve jackal gods.

Here in this considered construct, the black jackal figure is to be simply regarded and considered as a natural jackal animal in a constructed reference that gives directive guidance.

The Guidance

The Anubis jackal as seen in Burton's photo is cloaked downward from the neck which initially conceals its gold scarf or collar.

An observer who found the jackal would first have seen the gilded outlines of its ears and eyes.

Its black head would have mostly merged and virtually disappeared into the darkness of the chamber behind it.

The gilded eyes and ears of the jackal even in dim light would be prominent in the darkness.

The gold outlines through time would never be dimmed because gold does not tarnish.

The gilded features can be regarded to have been highlighted for longevity.

Someone seems to have wanted the eyes and ears of the jackal figure to be recognized for as long as would be possible.

If the application of gold is regarded to indicate some importance then the gilded eyes and ears of the jackal were meant to be recognized as important.

If this premise of highlighted importance is accepted then the question of why must follow and be answered.

Why Features Are Emphasized

What does each gilded feature on the jackal mean?

The Anubis jackal in this context of features that are visually emphasized must be considered for significance.

The black jackal initially seems to have little to be considered because it is simply black with a few gold highlights.

Yet, each feature is inherently recognized to have conceptual significances.

A natural jackal animal for example has certain behaviors.

Its eyes are for looking and seeing.
Its ears are for listening and hearing.

Eyes and ears of the jackal are emphasized to suggestively direct an observer in the tomb to look and listen.

Why would an observer be directed to look?
Because, the tomb contained content and constructed references that were not plainly obvious, could be missed, and remain unknown even today.

Why listen orinvolve the ears?
Ears suggest that something in the tomb might be heard or would involve the ears.

Ears in this context are a greater challenge than eyes to understand because few things in the tomb would involve hearing while much of the tomb involved sight.

Nothing was obviously special about two trumpets or a sistrum in the tomb unless specific music might be found and played but no scored music seems to be available.

Trumpets and Ears

I recognized the inclusion of digital binary information in the tomb which exposed a very simple relationship.

Sound (tones) can transmit digital information to communicate across distances.

The most obvious example that might be recognized today in our world is the sound made by audio modems for computer communication using telephone lines.

A computer modem produces two tones to transmit binary data.

The two trumpets from the tomb of Tutankhamun (each with a different tone) could be used to transmit any data that a computer modem could transmit.

The trumpets could of course require more time (like hours or days) to transmit as much data as a modern computer modem can can transmit in seconds.

Slower data transfer rates than an electronic modem do not eliminate the ability to use two trumpets to transmit digital binary data even in the time of ancient Egypt.

Consider that data compression schemes could also have been used to increase rates of data transfer using trumpets.

In fact, the constructed reference (a simple moving image in four steps) of an egg that I rendered from the burial chamber of Tutankhamun involves a form of data compression.

To be brief here, the directive to listen as indicated by gilded ears of the Anubis jackal in the tomb of Tutankhamun can be validated by the ability to use the two trumpets to transmit binary data such as information that was found in the tomb.

The directive of the jackal indicated to look and listen when followed leads to recognition of obscure constructs and compositions.

It also leads to recognition that two trumpets (instruments that produce sound) can be used as communication devices even to have transmitted images.

The Jackal's Gold Collar or Scarf

The head of the Anubis jackal with eyes and ears were plainly in view to be seen first before its gold collar that was under its linen cloak.

The collar or scarf would be seen in sequence only after the gilded eyes and ears.

This progressive sequence can be regarded to effectively first give direction to look and listen before moving attention of the observer to the covered collar.

Significance of the Collar is Different

Significance of the collar was a challenge to find.

I ultimately found it to be a positional reference (landmark?) within the greater tomb.

It occurs as an informative reference in several constructs that (at this time) I have not noted in this forum.

In a simplified sense, the gold collar on the Anubis jackal is like a 'you are here' reference mark.

This characterization is of course very simplified because the reference has other functions.

All this is noted to inform that the gold highlights on the jackal and elsewhere in the tomb are significantly important and not simply decorative.

Gold had great financiall value and the Egyptians don't seem to me to have been foolish as to waste it on lavish displays where it would forever out of reach.

My personal understanding is that the gold used in the tomb of Tutankhamun was for definite practical purposes.

Gold (even loose piece of foil) was applied to indicate some great importance of an element or reference.

Important features on the jackal figure on the Anubis shrine were emphasized with gold for the observer to recognize that to look and listen were very important in the tomb.
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PostPosted: Sat Dec 26, 2020 7:48 pm    Post subject: Reply with quote

54. Oars In Tutankhamun's Burial Chamber, Solar Cycle, and a Binary Signature

I had not considered the following proposed relationship before today but the position might deserve consideration even if it is ultimately dismissed as random coincidence.

The eleven oars that were on floor in the burial chamber of Tutankhamun can be related by myth to Ra (the sun).

Our sun has a solar cycle of eleven years in which its magnetic poles flip their positions.
[ https://spaceplace.nasa.gov/solar-cycles/en/ ]

The eleven oars in the burial chamber of Tutankhamun could be related to represent the solar cycle of eleven years.

This to me seems consistent with the relation of Ra to the sun.

It also seems to be a plausible method that ancient Egyptians could have used to expose their awareness and knowledge that the sun has a cycle of eleven years.

Why create such a reference?

Such a reference if recognized would inform the observer (who might be a discoverer of the tomb in some unknown later millennia after Tutankhamun).

The observer would learn from such reference that those who created the reference had attained a certain degree of advancement and knowledge.

The observer who can recognize the reference would know that they could expect to find information that is commensurate with such degree of knowledge.

An observer who is not able to recognize the reference might attribute what is observed to magic or spirituality.

Whether the oars simply represent myth or are also a representation that extend to reality and science should be considered in context of the solar cycle.

A Binary Signature

That the magnific poles of the sun cyclically flip their positions can be regarded to make the eleven oars also represent a binary signature.

The oars in the burial chamber were laid along the north wall in an alternately staggered (zig-zag) pattern.

The alternated pattern of the oars can be regarded to represent the periodic (cyclical) alternation of the sun's magnetic poles.

This effective binary signature (north/south and south/north) can be regarded to redundantly support other constructed references in the tomb that I have recognized as patterns constructed in attempts to demonstrate binary signature.

Redundant presentations of binary signatures can lead an observer to recognize the presence of digital binary references that can yield information.

Such references led me to find in the east wall mural a digital binary representation of an egg (oval) that splits and yields a new egg in its place (the cosmic egg).

In the west wall position is a digital binary representation that produces a kheper form (a dead beetle).

I did not know what the dead beetle meant to signify but think it somehow pertains to Khepri. I will research it when libraries open again.

Hypothesis For The Oars

My position is that the ancient Egyptians who designed the tomb and burial of Tutankhamun used the sun as a stable constant reference that would always remain available until the cosmic end of earth.

They planned the eleven oars as a reference to be related to and associated with the magnetic cycles of the sun.

The observer could recognize in the reference a continuously repeated cycle that involves binary alternation to demonstrate the concept of a continuous process that involves a binary signature.

Such a continuous process of cycling that involves binary alternation can be recognized today as a fundamental basis of digital data processing.

A modern computer moves data through its structure as a stream of binary elements (digits) whose flow is regulated by a steady continuously alternating cycle that is like the heartbeat of a microprocessor.

I am not proposing that ancient Egypt had computer technology.

Data in digital binary form (whether processed manually or mechanically) is referenced (read or written) as a string or stream of binary elements (ones and zeroes).

The process of counting with binary numbers inherently involves
the alternation of binary digits as one or zero is replaced in each place-value position.

Alternated cycle and continuous sequence such as to read a string or stream of digits from end to end are concepts that the solar cycle can easily represent to those who are aware of the solar cycle.

Maybe Extreme

Of course, my position here likely will seem extreme because it requires that the ancient Egyptians had knowledge about the solar cycle of eleven years and somehow knew about the alternation of its magnetic poles.

Yet, the oars in the burial chamber seem to present characteristics that strongly suggest the oars can be related for reference to the solar cycle and digital binary references.
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PostPosted: Sun Dec 27, 2020 7:27 am    Post subject: Reply with quote

maat wrote:

A Binary Signature

That the magnific poles of the sun cyclically flip their positions can be regarded to make the eleven oars also represent a binary signature.

The oars in the burial chamber were laid along the north wall in an alternately staggered (zig-zag) pattern.

First, a correction: "magnific poles" should correctly be "magnetic poles".

Next, the "(zig-zag) pattern" needs to be explained because it will not be obviously apparent to see in Burton's photograph (p0590) that shows the oars as they were found in the burial chamber.

[ http://www.griffith.ox.ac.uk/gri/carter/192-p0590.html ]

The eleven wooden oars are not physically arranged in a zig-zag pattern.

The zig-zag pattern to be observed occurs within the constructed reference of eleven oars.

Howard Carter numbered the series of eleven oars (182 - 192).
[ http://www.griffith.ox.ac.uk/perl/gi-ca-qmakeres.pl?sid= ]

Notes About The Image

Burton's photograph shows the range of oars from 184 (in foreground) to 192 (far in background) and each oar is labeled with its identification number.

Oar 182 does not appear in the image.
Oar 183 is only partly visible.
Oars 184 to 190 are distinctly visible.
Oars 191 and 192 are not clearly visible far in the background.

Visibility of the oars is critically important to an element that was attached to each oar.

"Projection" Elements

Carter in his descriptions noted the element on each oar as simply a "projection" and also noted if the projection was attached, detached, broken off, or missing.

It is those projection elements that define and indicate a zig-zag pattern within the constructed reference of oars.

The projections are informative in several aspects but only the zig-zag aspect is noted here.

Actual and Conceptual Zig-Zag. Pattern

The zig-zag pattern of the oars occured and was demonstrated both actually and conceptually in the burial chamber by the projection elements of the oars.

Carter noted that projections were "missing" for oars 183 and 187.
The projection for oar 186 was "separated" and "broken off".
The projection for oar 192 was "loose" and "refastened".

The eleven oars were obviously carefully laid in the narrow alley.

Why were separated elements that should have been attached to their oars also placed in that space and why were some elements missing?

The elements did not fall off, shift away or go missing from their oars in a closed chamber.

They must have been placed as they were found to indicate some significance.

Table (Paddle Shapes, Projections, Assigned Value)

Oar _ Shape_ Projection (L or R) --> value 0/1
- - - - - - - - - - - - - -
182 - square - ? present --> (present) = + 1
183 - square - "missing" --> (missing) = - 0
184 - square - / ( left ) - - > ( present) = + 1
185 - square - / ( left ) --> (square) = + 1
186 - curved - "separated", "off" --> (curved) = - 0
187 - square - "missing" --> (square) = +1
188 - square - \ (right) --> \ = - 0
189 - square - / ( left ) --> / = +1
190 - square - \ (right) --> \ = - 0
191 - ( ? ? ? ) - ? (left?) --> / = + 1 {not clear}
192 - ( ? ? ? ) - ? "loose", "refastened"

In Burton 's photograph, oars 184, 185, 188, 189 and 190 each appears to have a projection to left or right from its handle.

The preceding table will serve to show how the zig-zag (alternating) pattern is discerned.

Key Oar 184 and its Application

The image of oar 184 shows an odd mark that to of looks like a circle on a plinth, a circle on a throne symbol (sun on a throne?), or a pivot symbol.

In whichever case, the mark here in this context indicates that oar184 is a key reference.

The orientation of each visible projection is towards left or right.

The projection on oar 184 is to left, so leftward projections are arbitrarily assigned to be plus (+) or value 1.

This informs that other (non-left) projections are assigned to be minus ( - )or 0 (zero.

A Pattern Results

Observe the pattern of alternation involving projections in the table.

Oars 182 (present), 183 (missing) and 184 (present, key 'left' = 1) involve alternately present and missing projections.

Oars 185 (square {left = 1}), 186 (curved) and 187 (square) involve the shape of each paddle.

Oars 188 (right), 189 (left = 1) and 190 (right) involves orientation of each projection.

Oar 191 (unclear) appears to have a rightward projection (value 0 or -).
Oar 192 is not visible, has scant documentation for this context and is not assessed.

The pattern of assigned binary values that occurs from oars 182 to 191 is
1, 0, 1, 1, 0, 1, 0, 1, 0, 1 and (?)
+, -, +, +, -, +, -, +, -, + and (?)

The Key Disruption

Oar 184 that appears to be marked for reference as the key oar occurs as a 1 in the fourth position where it uniquely disrupts the sequence of binary alternation.

The value of 1 assigned to the key oar and therefore related to represent left which results in 0 being regarded to indicate right.

The sequence of alternated binary digits then can be regarded to represent a sequence of alternation (zig-zag) that involves left and right.

Observe that zig-zag is finally here conceptually represented and is physically represented by projections on oars 188, 189 and 190.
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PostPosted: Sun Dec 27, 2020 8:06 pm    Post subject: Reply with quote

The missing projections from oars (in the preceding post) were as significant and relevant as those projections that were present and attached to their oars.

The missing elements were used to form part of the greater pattern of binary (zig-zag) alternation.

For example, present-missing-present = / \ / = 1 0 1.

Elements that appear to have been "broken off " or detached should not be regarded to have been carelessly treated or carelessly placed.

Consider that the chamber was closed.

If robbers in fact had gained entry, they would have stripped gold from the outer burial shrine before they would think to touch wooden oars.

The large burial shrine was not damaged and the gilded ears on the Anubis statue were in plain sight and not touched. Similarly, the two staves of the two king statues were gilded and also untouched.


Plotinus is quoted by Assman earlier in this thread and part of that quote seems relevant here.

Afterwards the content is released from the image and put into words and the reason is found out for its being thus and not otherwise.

The note by Plotinus seems to have been long-lived guidance even in the days of ancient Egypt as chapter 17 in The Book of the Dead seems to try to teach by example.

"What does this mean?" is repeatedly asked in BOD chapter 17.

I think that text seems to have been written to teach its reader to examine the seeming enigmas of ancient Egypt by using that question.

[ https://wxw.ucl.ac.uk/museums-static/digitalegypt/literature/religious/bd17.html ]

Of course, the text is greatly more instructive and informative although it will not be easily understood.

In the linked web page under "Allen Part C" for example is the line
If Horus is honoured, Seth is bound and vice versa.

I think that few people will recognize the binary relationship of Seth and Horus.

Myth informs that Horus in combat was blinded by Seth.
Horus is the one whose eyes and sight were lost then restored to him.
He was made to be blind but later regained his ability to see.

The myth of course uses the language of metaphors.

Seth and Horus

The god Seth represents chaos, disorder and deception that can blind a person's visual perception.

The struggle between Seth and Horus can be understood to represent the natural struggle a person to accurately see through potentially uncertain, unclear, distractive or deceptive presentations.

If Horus triumphs against Seth then Horus will not be deceived and will have true and accurate sight.

If Seth triumphs against Horus then uncertainty or deception will triumph and reign over the ability to accurately see and perceive.

To honour either Seth or Horus effectively elevates one and reduces the other.

The guidance that the quoted line can provide from BOD chapter 17 is helpfully informative in study of various constructed references especially visual constructs that potentially can be perceived in different ways.

A constructed reference can (like Seth in myth) present complexity that might cause confusion or misperception.

The struggle of a person who encounters such a challenge is to gain the advantage and victory of ability to clearly see and perceive that which a construct presents.

The person who is able to clearly perceive is like Horus whose eyes were restored.
Seth (the one or thing that deceives or causes misperceptions) will lose advantage.

To honour one of the two is also to diminish the other.

BOD chapter 17 is filled with guidance that is applicable to ancient Egyptian constructs.

The struggle that Seth and Horus represents is also applicable to chapter 17 of The Book of the Dead.

The challenge is to learn, "what does this mean?"

It is in fact meaningful.
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PostPosted: Mon Dec 28, 2020 7:26 pm    Post subject: Reply with quote

55. Seth Animal Example

The Egyptian Museum in Cairo has a statue of the god Seth.

A color photograph of the statue that might be useful here is posted on website of the Rosicrucian Egyptian Museum.
[ https://egyptianmuseum.org/deities-seth ]

The statue shows the god Seth in anthropomorphic "Seth animal" form.

The Seth animal generally is not recognized or identified by Egyptologists to represent an animal that occurs in reality.

It is regarded as a fantastic mythical form that suggests but never achieves the form of an animal that exists in reality..

Observation of the Seth animal (statue) is an instance where the question should be asked.

What does this (a statue with the Seth animal form) mean?

The conceptual nature of the god Seth is to represent or produce uncertainty, deception and confusion.

The Seth animal is a deceptive form that should be regarded as such.

The Seth animal form seems to make no sense in reality.
Is it canid, bird, other, all or neither?

What does this mean?

It is obviously a complex confusion of elements or forms.

The observer should try to look and see through and past the complex confusion that the statue presents to see if anything might be found within the presented composition.

In the case of the referenced image, the observer can look closer and study carefully.

Can you see the feather of Ma'at form that occurs along neckline of the statue figure? Rotate the image to be upside down.

Also, do you see the adze form?
The form is like the adze-on-a-block hieroglyph with eye of the statue serving as the block.

Does the eye also represent a hieroglyph?

Can you see a falcon form on shoulder of the statue?

Can you see the head of an ibis that is superimposed on side of the head of the statue?

There also is a vulture form and much more.

Complex Confusion and the Struggle

The statue presents a complex confusion of elements (forms and glyphs?).

If Seth triumphs then the observer will not see the valid order and what the statue presents. This would make Horus blind and give the honour to Seth.

When the observer is able to see past the deception that Seth (the constructed reference of the statue) presents then the eyes and sight of Horus will have been restored.

This is one example of how the guidance from BOD chapter 17 is applicable.
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