Before starting this small article, I have been accumulating and analyzing photos and videos from various documentaries and programs for a long time. It should be noted that, unfortunately, the materials of such eminent manufacturers as National Geographics and others like it are in the last place in the list of facts useful from the point of view of video. Constant lies of the announcer, repeated repetition of stupid phrases, absolutely extraneous filming, here is a short list of the "saturation" of these programs about antiquity.
Nevertheless, a couple of frames to prove the tendency I noticed can be found even in these crafts. In contrast, in the films of "domestic" producers, often shot for the money collected with difficulty for the film, there are so many materials that sometimes it is necessary to watch three or more times, so as not to miss any trifles or frames, so much in every second of valuable and unique. First of all, this leads to suspicion of the unscrupulous portrayal of the past from the official side. With the financial capabilities, permissions and potential of their film crews, it is not at all difficult to find and shoot even rarer footage than on private expeditions. But we see nothing of the kind. And even more, several times I have come across in foreign films, filmed later, on a blatant plagiarism of ideas and conclusions,which I saw much earlier in films made by our authors.
For this reason, let us cast aside the mothball-smelling theories of armchair professors with their evolution of Homo sapiens and chronology of events and consider what we see from the point of view of facts and a new theory about the role of man on the planet that is currently being formed. And from the point of view of this theory, we are not the first and not the smartest here. In addition, it seems that we are the most memoryless, and the most stubbornly unwilling to accept the truth about ourselves!
The fact that someone reasonable has already been here is practically undeniable! But the main, fundamental difference may lie in whether it was a mind of local origin, lost, gone, etc. Or was it a mind that came from somewhere? Both theories have very strong evidence, including material ones. But in principle, this is of great importance, since if a civilization is "our own", then there are more chances that we are "relatives" with them than if the civilization is "alien". That is, the chance that we are from the same "root". And therefore they will be more loyal to us for this reason. Because in the case of the aliens, we have only three, not very comforting, options. We were "modified" on the spot from the material we encountered! (monkeys), a variant of creating helper slaves. We were "created" to function in the given planetary conditions on the spot!(the same or colonization). And, they brought us with them. How we bring bacteria, viruses and animals!
Do you like? The place of the king of nature is somehow staggering, isn't it? This, by the way, is the main reason for the complete disregard of facts by official science. It is not easy to see the truth, it changes the worldview and goals of life, it is difficult psychologically.
To realize and experience the fact that we are not the main ones, not the first, that the theory of evolution, in the process of which reason arose, is not our history, but the history of those who created us !!! But who? And when?
The famous Egyptologist of the twentieth century M. A. Korostovtsev, who can be safely attributed to the scientists who firmly believed in the old classical, academic postulates, while studying the ancient Egyptian "sources", however, could not move away from a completely logical conclusion.
It is precisely such stunning conclusions that sometimes break from the pen and language of many, even the most avid supporters of the "classical" versions. This happens when they open the doors of their consciousness to what is in front of them, and do not strangle the obvious with far-fetched dogmas.
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It was thanks to this look that Flinders Petrie was able to see traces of machining on ancient Egyptian monuments. It is thanks to this approach that Francois Champillon, having already deciphered the hieroglyphs, as he said.
This was said by a brilliant linguist, a man behind whose back there was not even two hundred years of close study of the remains of ancient Egypt. Today we know for sure that the entire history of the "development" of the ancient Egyptian civilization, including writing, is the history of the degradation of society, once headed by the "gods."
Now that we've covered, so to speak, the basics, it's time to get to the facts. Thus, they are trying to ignore, ignore, sometimes simply destroy incontrovertible evidence. Everything described below would have been impossible without literally titanic work of hundreds and thousands of enthusiasts, whose only task is to achieve the truth at any cost. They were the ones who looked for funds, went on expeditions, took risks, in a word, gave everything in order to break through the iron curtain of lies and obstacles that the powers that be from modern academic science have erected, but in fact, pseudosciences, on the way to answering the question, WHO ARE WE AND WHERE ARE WE FROM?
Absolutely identical construction principle of the megalithic period! Huge multi-ton blocks as the main component of all buildings. Around the world!
The principle of stone processing is exactly the same (inexplicably perfect) in any of these places!
The way of moving and installing building materials is inexplicable, but it definitely indicates to us, as a hint, which is more perfect than our modern ones.
Considering the perfection of processing, materials and what is left of all this now, without a doubt, the era of the creation of these structures is much more distant than the currently accepted historical dates and periods.
At least 10,000 BC! By the way, the first Egyptologists, including Champillien, adhered to the same opinion in relation to the pyramids and the most ancient temples of Egypt. And only from the beginning of the twentieth century, for some reason, the theory of closer historical dates prevailed. The Egyptologists of the new generation were haunted by the huge time intervals of reigns, which, they thought, were impossible only because they did not know the long life expectancy of a modern man !!
These are the four points that make up something unified, proving to us that the one who did it, despite the different parts of the world, is one.
And now you can go to the particulars. Personally, I have long been interested in the details and some of the features that make the difference between the buildings of the "gods" in different parts of the world. As the principle of construction and the above speak of one source, so these features speak of differences. What can these differences tell us? About the artistic taste of a particular designer involved in the design of the facade? Undoubtedly. However, not only this. Here is the technique of using the instrument, here is the taste, here, in the end, a certain art school prevails in a given, specific place.
Let's start with America. In its northern part, to our great regret, due to the climate and the huge number of people who lived for a long time in these territories, practically nothing remained in its original form. A similar picture can be observed in Israel, Lebanon, Syria, Iraq. But the monuments of Tiahuanaco and Puma Punku, Machu Picchu and Silustani in Peru and Bolivia are stunning!
We can safely say that they are in some way even superior to the Egyptian ones! The ease of working with abstract forms, in contrast to the Egyptian strictly geometric, suggests an earlier period of construction and a better command of tools. A special handwriting of the South American style of "gods" is given by some, I would say, stylization of antiquity. And I think that under THEIR antiquity. Almost all large stones of the outer walls are processed in the "wooden" style. Everywhere left "knots" are not exactly geometric protrusions in a chaotic manner in arrangement to each other and to all parts of the surface. On the face is an indisputable element of decoration, design, stylization! (photo 1)
Photo 1.
Nowhere else in the world where such monuments have been preserved is there a similar design. There is a type of processing - in Egypt, but there are no such decoration elements. Of the working versions, the most likely one: it's just a local school. With an artistic style inherent only to her. This has been common since ancient times among our art schools in different parts of the world. Egyptian style, Indian, Maya, Japanese. Both in architecture and art. And with all the differences, an outside observer can quite rightly sum up all this with a brief summary, DIFFERENT ARTISTIC CURRENTS OF HUMANITY, PEOPLE.
Why don't we do the same. Moreover, there is plenty of evidence. Compare the previous photo with the one below. (photo 2).
Photo 2.
The first from South America, the second from Egypt. Isn't the surface of the stone treated technically similar? As if the stone was being shaved off. At the same time, some protrusions were purposefully left, which were then given either a knot shape or a square shape (in the second photo). It is quite possible that due to the huge time interval we simply lost all those monuments that would have made these styles related, maybe there were “knots” in Egypt, we just haven’t found them yet or will not be able to find them.
One way or another, as they say, the fact is on the face! The primary moment of processing is the same for everyone. Here are just the stones themselves in South America, often as if folded in the style of a mosaic. (photo 3).
However, in Egypt you can often find ruins of huge mosaic floors in temples.
Photo 3.
Although the seam surfaces are perfect, in Egypt and in the east, an even square and rectangular shape prevails. However, in Puma-Punku, all stones with the same treatment as in Egypt, and all other places can simply be safely and far put aside. The shape and processing of these stones is more like technical blanks from a high-tech conveyor. Such shapes and angles, such complexity of the pattern are not found anywhere else in the world!
(Photo 4, 5, 6,).
Photo 4.
Photo 5.
Photo 6.
Not just common sense speaks about the non-randomness of such forms, but also an approximate reconstruction of the drawing, which would be necessary to make something like this from a solid block of stone !!! (photo 7).
Photo 7.
I consider it especially appropriate in this case to strongly emphasize the opinion of official archaeologists and other "scientists" that this was done by the Indians who are at the level of development of the Copper-Stone Age !!!!!!
But let's leave the perfection of the Puma-Punku stones, as for me, this is a separate geometry and a topic of conversation. This “base” is just geometrically perfect and different from all other places. And by the way, it is not so far from the Nazca and Palpa plateaus!
Let's go back to the "divine" design and decoration. It seems to be a bit rude, but who knows what sense of taste and measure of beauty they had? Should we judge. Maybe, judging by the quality of processing, their art is the ideal geometry of joints, angles and proportions! Why isn't art for you? However, we can safely say that this is not the only point. If, according to the monuments of South America, the elements of art in our understanding are not so pronounced, and we can only talk about perfect processing and some design elements, then in Egypt "they" demonstrated such an ideal mastery of the artistic style that they did not have the same, ours, artistic taste, just silly. However, you can pay attentionthat this supernatural mastery of form in the smallest detail (sculptural work) kind of betrays "their" attitude to the transfer of forms as such. From the geometric, as it were, the technical side, and not as is customary in our country, "from the heart." This is, perhaps, the only moment that arouses a certain suspicion in me, but weren't some robots doing all this at all ?! Otherwise, "they" are great.
At the end of the theme of decorating in the style of "bitches", I will give a few more photos that clearly demonstrate that even in small inserts of stones they tried to emphasize this style! (photo 8).
Photo 8.
Pay attention to the fact that the lines of the blocks fit perfectly and at the same time are NOT Smooth !!! The lines seem to be drawn with a pencil on paper, the bend is smooth and has no signs of strict geometry !!! The blocks themselves bear traces of "shaving" from which, as we have already seen, then decorative elements were made.
And here are even blocks with knots, right there in South America (photo 9).
Photo 9.
In the following photos, the process of transforming more square protrusions into stylization “knots” is very clearly visible! (photo 10, 11).
Photo 10.
Photo 11.
All the above photos show that in some cases we are most likely dealing with unfinished construction. That is, according to the logic, "knots" should be "allocated" finally, if the construction was completed in full! But in fact, we see as many as three stages, preliminary, when, when "shaving" the stone, a technological, square ledge is left. Semi-billet, when the protrusion is rounded and final, when the protrusion is almost identical to the cut wood knot!
Some of the completed ledges are even slanted, and wider at the base! This is how the branches of trees grow! And even if we assume that for thousands of years already finished protrusions were knocked down by someone else, the presence of square, blank places, testifies precisely in favor of the assumption of an unfinished process. Well, or THEY, left it all for clarity, which is completely illogical from our point of view.
In addition to the above-described stylization, a more pronounced design of buildings and structures, apparently, was not found. Depressions and other protrusions on the outer walls, regardless of the part of the world, bear traces of a technological nature rather than a hint of at least some local artistry.
It is all the more surprising to find another decorative element in a purely technical place of joints of stone blocks, which, logically, is most often completely hidden from view. In South America, 99% of these joints are found at Puma Punku. There are cutouts in the form of a rod with a knob, and in the form of a slingshot.
By the way, joints in the form of a slingshot are found in Greek monuments before the Roman period, blocks of colonnades, etc. This raises serious questions about the time of their correct dating!
There are even voluminous ones, on two sides at once. We are talking about the cutouts at the junction of the blocks into which a metal or stone clip is inserted. Its purpose is to hold together huge blocks that lie end-to-end without mortar. However, it should be noted that the bow tie is rare in South America. But in Egypt it is practically the only one in all cases. (Photo 12).
Photo 12.
Moreover, there are a great many variations on the theme of "bow" - thinner, thicker, longer and shorter. It would seem, well, why all this? If there is a stencil, standard ?! And what is especially incomprehensible is the fact that the design element in this form is applied in places that in the overwhelming majority of cases were planned to be hidden forever under the thickness of foundations and facings !!!!
In Egyptian monuments, sometimes you can find “bow” fasteners even as a structural element, so often it is used to join parts (Photo 13.14).
Photo 13.
Photo 14.
It is extremely difficult, and even debatable, to assert, and all the more impossible, on the basis of logic and available data, to convincingly prove what is primary. Egyptian geometric unification or South American variety of screed shapes. The only thing that can be traced absolutely indisputably is their common source, principles and processing technique. Manners and logic of construction.
A striking example of the fact that a bow-shaped joint is a design element, unlike all other joint forms, is a rare bow-crown joint (as I would call it).
Who knows, maybe this is how the builders, guided by their artistic traditions and rules, noted even the smallest elements of some special structures! At the same time, sending a certain message to the future, which we now see in front of us! (Photo 15).
Photo 15.
In the lower left and right corners, a very neatly highlighted additional V-notch is clearly visible. Below is the standard "bow". (photo 16)
Photo 16.
Also, analyzing ancient forms, the thought of the later Egyptian symbolism comes to mind. The so-called ANKH is remarkable. Was it not a construction tool of the gods? Three ties with a kind of loop (loop-shaped ties are found in South America!). It is now considered a symbol of life and eternity, but in fact it could well be a tool or a badge of a foreman!
Author: DMITRY NECHAY