Sigiriya. Softening stone (Part 1)
Sigiriya. Small architectural forms (Part 2)
Sigiriya. Brickwork (Part 3)
Every tourist who has mastered the ascent to Sigiriya strives to visit the main attraction of the Lion Rock - the so-called "Throne Room" or "Reception Hall". This is the only place in the entire complex that can be associated with something residential and equipped.
The object is a flat area about 8x10 meters in size, in the depth of which there is a "throne" - a stone bench. The platform is surrounded on three sides by a semicircular rim, which on the left side has a flat rectangular depression, apparently a place for a clerk. All this is made from the mother monolith and is a single unit with the rock. However, there is one component on the right side, it differs in color, but about it - a little later.
The entire composition is a finished top of a huge boulder, the top of which has been cut to about half. For the ascent to the "Throne Room", a staircase was attached to the boulder, which itself is also a very interesting object, as it consists partly of a monolith, partly of blocks, partly of bricks.
Promotional video:
The staircase speaks volumes about the construction methods. In this case, a lump of suitable volume was melted and the main part was molded, then, where there was not enough solid stone, blocks were added, and the side was lined with bricks.
The entire plane of the "Throne Room" is tilted to the right, or rather, to the far right corner, which, judging by the rest of the products, indicates the probable impossibility of changing this situation. One could assume that the boulder sagged over time, but judging by the seam between the monolith and the stairs, it did not move a millimeter.
It is difficult to get rid of the feeling that a curly shape was pressed into a viscous mass, which was then pulled out. The excess rock was squeezed out to the sides, and an imprint remained on the surface. If you look closely at the drawing, you can see characteristic dents on the left side of the monolith, similar to those found on large boulders. Where the stone was melted, one cannot do without them. To the right and to the front, rectangular grooves are visible that run along the edge of the cliff.
You can try to understand, at least approximately, how this product was created, restoring the whole process in order. Probably, at first, the upper part of the boulder was removed (leveled) with a large machine, leaving the necessary volumes where necessary. The mission of the "brute" machine ended there. Then came the time of another machine - a walking 3D sculptor, who was installed above the surface of the stone. Most likely, the rectangular grooves on the right side served for rigid fastening, while the left side was movable.
A small flat rectangular area, which is also on the left, is most likely also related to a 3D sculptor, since it has a smoother horizon and has paired holes that go with a certain pitch.
Most likely, it was a stationary vibrator, similar to the one used for ramming asphalt or gravel. Only here it was attached to the stone through the holes and, possibly, provided plasticity while the "sculptor" was working. Therefore, the site has a flat horizon. She straightened out under the weight of the vibrator. But this is only a guess. Starting from the far side, the 3D sculptor got to work. Having made a "throne" and a back side, he moved back, making side bumpers and a level floor.
In the image with the dog, on the left, you can clearly see how there was a little lack of material and at the very end there was an influx. Quite as it happens when a concrete screed is leveled with a rail. On the right side of the boulder, two abandoned borders are visible, which give the impression of recent work. How they got here is unclear. The curbs are clearly from the pools. Perhaps there were extra ones, but here they wanted to melt and finish the right side.
Perhaps the whole marriage turned out due to the fact that the "sculptor" simply did not have enough material. From here, the principle of operation of the unit becomes more or less clear - it optimizes and distributes the available volumes of material according to a given 3D model.
Having finished with the main platform, the "sculptor" stepped over the vibrator and for the first time put his support on the left edge of the boulder. Then anyone can count how many more steps the 3D sculptor took. He took five more steps and with the last step stamped his footing completely. So there is a genuine full footprint of the alien mechanism support here.
His support is complex and consists of separate paws of different levels. The hole is a rod that prevents the apparatus from sliding off. Rather, he does not slip anyway, but he feels more confident on the rod.
Also, the "sculptor" must take into account the dimensions of the 3D model, into the space of which he cannot invade. Therefore, finding himself in the permissible zone, the "sculptor" confidently stood up on two paws and, apparently, having finished the work, stood on full support completely. It is interesting that two steps on the boulder for the future ladder seemed to have been made just like that - by hand, literally with a shovel, until the "solution" froze.
Summarizing all of the above, we can say that such technologies for working with stone remove many questions over which people who do not believe that the Egyptians could have built the Great Pyramid are racking their brains.
Nobody moved Baalbek's trilithons, they were cast on the spot. Therefore, you cannot stick anything between them. With polygonal masonry, everything also becomes clear - a 3D sculptor worked. "Pips", "nipples" and other holes - all these are technological traces from the operation of machines.
Therefore, the Egyptian obelisks have such a quality and a thin layer is also split off from them (casting plus hardening). Any stone columns and sculptures can be replicated in thousands, which is why they are so similar. There is no problem casting any blocks, colossal statues and other monuments. The old men in Aksum have long said that the giants cast steles into the formwork and then erected them.
The sarcophagi are so flat and smooth because the formwork was perfect. And they penetrated through the narrow passages because at the moment of penetration they were a plastic stone mass and were already frozen in place.
In a word, now, thanks to the beautiful Sigiriya, one can faintly imagine what real machine technologies in construction are and what an advanced civilization is. But where did it all go? Where is the brick printer?
Materials from sites geolines.ru, dopotopa.com were used
Sigiriya. Softening stone (Part 1)
Sigiriya. Small architectural forms (Part 2)
Sigiriya. Brickwork (Part 3)
