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CIVILIZATION AREA (The Sphinx, Egypt)


The Sphinx, Giza Plateau, near Cairo, Egypt




The greatest monumental sculpture in the ancient world, the Sphinx is carved out of a single ridge of stone 240 feet (73 meters) long and 66 feet (20 meters) high. The head, which has a markedly different texture from the body, and shows far less severe erosion, is a naturally occurring outcrop of harder stone. To form the lower body of the Sphinx, enormous blocks of stone were quarried from the base rock (and these blocks were then used in the core masonry of the temples directly in front and to the south of the Sphinx). While a few stubborn Egyptologists still maintain that the Sphnix was constructed in the 4th Dynasty by the Pharaoh Chephren (Khafre), an accumulating body of evidence, both archaeological and geological, indicates that the Sphinx is far older than the 4th Dynasty, and was only restored by Chephren during his reign. There are no inscriptions on the Sphinx, or on any of the temples connected to it that, that offer evidence of construction by Chepren, yet the so-called 'Inventory Stele' (uncovered on the Giza plateau in the 19th century) tells that the Pharaoh Cheops - Chephren's predecessor - ordered a temple built alongside the Sphinx, meaning of course that the Sphinx was already there, and thus could not have been constructed by Chephren.

The Sphinx, Giza Plateau, near Cairo, Egypt

A much greater age for the Sphinx has been suggested by R.A. Schwaller de Lubicz, based upon geological considerations. Schwaller de Lubicz observed, and recent geologists (such as Robert Schoch, Professor of Geology at Boston University) have confirmed, that the extreme erosion on the body of the Sphinx could not be the result of wind and sand, as has been universally assumed, but rather was the result of water. Geologists agree that in the distant past Egypt was subjected to severe flooding. Wind erosion cannot take place when the body of the Sphinx is covered by sand, and the Sphinx has been in this condition for nearly all of the last five thousand years - since the alleged time of its 4th Dynasty construction. Furthermore, if wind-blown sand had indeed caused the deep erosion of the Sphinx, we would expect to find evidence of such erosion on other Egyptian monuments built of similar materials and exposed to the wind for a similar length of time. Yet the fact of the matter is, that even on structures that have had more exposure to the wind-blown sand, there are minimal effects of erosion, the sand having done little more than scour clean the surface of the dressed stones.

Additional evidence for the great age of the Sphinx may perhaps be indicated by the astronomical significance of its shape, being that of a lion. Roughly every two thousand years (2160 to be exact), and because of the precession of the equinoxes, the sun on the vernal equinox rises against the stellar background of a different constellation. For the past two thousand years that constellation has been Pisces the Fish, symbol of the Christian age. Prior to the age of Pisces it was the age of Aries the Ram, and before that it was the age of Taurus the Bull. It is interesting to note that during the first and second millennia BC, approximately the Age of Aries, ram-oriented iconography was common in Dynastic Egypt, while during the Age of Taurus the Bull-cult arose in Minoan Crete. Perhaps the builders of the Sphinx likewise used astrological symbolism in designing their monumental sculpture. The geological findings discussed above indicate that the Sphinx seems to have been sculpted sometime before 10,000 BC, and this period coincides with the Age of Leo the Lion, which lasted from 10,970 to 8810 BC.

Further support for this vast age of the sphinx comes from a surprising sky-ground correlation proven by sophisticated computer programs such as Skyglobe 3.6. These computer programs are able to generate precise pictures of any portion of the night sky as seen from different places on earth at any time in the distant past or future. Graham Hancock explains in Heaven’s Mirror that, “computer simulations show that in 10,500 BC the constellation of Leo housed the sun on the spring equinox - i.e. an hour before dawn in that epoch Leo would have reclined due east along the horizon in the place where the sun would soon rise. This means that the lion-bodied Sphinx, with its due-east orientation, would have gazed directly on that morning at the one constellation in the sky that might reasonably be regarded as its own celestial counterpart.”

The foregoing discussion means that the monumental sculpture of the Sphinx may have existed at a time when (according to prevailing archaeological theory) there were no civilizations on earth and humans had not yet evolved beyond hunter-gatherer lifestyles. This matter is so radical that scholarly reticence in acknowledging it is understandable. If the Sphinx is indeed this old then contemporary assumptions regarding the development of civilization must be entirely reworked and the mystifying question of Plato's Atlantis should be given very serious consideration.


The Great Sphinx in the early 1900's
The greatest monumental sculpture in the ancient world, the Sphinx is carved out of a single ridge of stone 240 feet (73 meters) long and 66 feet (20 meters) high. The head, which has a markedly different texture from the body, and shows far less severe erosion, is a naturally occurring outcrop of harder stone. To form the lower body of the Sphinx, enormous blocks of stone were quarried from the base rock (and these blocks were then used in the core masonry of the temples directly in front and to the south of the Sphinx). While a few stubborn Egyptologists still maintain that the Sphnix was constructed in the 4th Dynasty by the Pharaoh Chephren (Khafre), an accumulating body of evidence, both archaeological and geological, indicates that the Sphinx is far older than the 4th Dynasty, and was only restored by Chephren during his reign. There are no inscriptions on the Sphinx, or on any of the temples connected to it that, that offer evidence of construction by Chepren, yet the so-called 'Inventory Stele' (uncovered on the Giza plateau in the 19th century) tells that the Pharaoh Cheops - Chephren's predecessor - ordered a temple built alongside the Sphinx, meaning of course that the Sphinx was already there, and thus could not have been constructed by Chephren.

A much greater age for the Sphinx has been suggested by R.A. Schwaller de Lubicz, based upon geological considerations. Schwaller de Lubicz observed, and recent geologists (such as Robert Schoch, Professor of Geology at Boston University) have confirmed, that the extreme erosion on the body of the Sphinx could not be the result of wind and sand, as has been universally assumed, but rather was the result of water. Geologists agree that in the distant past Egypt was subjected to severe flooding. Wind erosion cannot take place when the body of the Sphinx is covered by sand, and the Sphinx has been in this condition for nearly all of the last five thousand years - since the alleged time of its 4th Dynasty construction. Furthermore, if wind-blown sand had indeed caused the deep erosion of the Sphinx, we would expect to find evidence of such erosion on other Egyptian monuments built of similar materials and exposed to the wind for a similar length of time. Yet the fact of the matter is, that even on structures that have had more exposure to the wind-blown sand, there are minimal effects of erosion, the sand having done little more than scour clean the surface of the dressed stones.


Napoleon at the Great Sphinx in 1798
Additional evidence for the great age of the Sphinx may perhaps be indicated by the astronomical significance of its shape, being that of a lion. Roughly every two thousand years (2160 to be exact), and because of the precession of the equinoxes, the sun on the vernal equinox rises against the stellar background of a different constellation. For the past two thousand years that constellation has been Pisces the Fish, symbol of the Christian age. Prior to the age of Pisces it was the age of Aries the Ram, and before that it was the age of Taurus the Bull. It is interesting to note that during the first and second millennia BC, approximately the Age of Aries, ram-oriented iconography was common in Dynastic Egypt, while during the Age of Taurus the Bull-cult arose in Minoan Crete. Perhaps the builders of the Sphinx likewise used astrological symbolism in designing their monumental sculpture. The geological findings discussed above indicate that the Sphinx seems to have been sculpted sometime before 10,000 BC, and this period coincides with the Age of Leo the Lion, which lasted from 10,970 to 8810 BC.

Further support for this vast age of the sphinx comes from a surprising sky-ground correlation proven by sophisticated computer programs such as Skyglobe 3.6. These computer programs are able to generate precise pictures of any portion of the night sky as seen from different places on earth at any time in the distant past or future. Graham Hancock explains in Heaven’s Mirror that, “computer simulations show that in 10,500 BC the constellation of Leo housed the sun on the spring equinox - i.e. an hour before dawn in that epoch Leo would have reclined due east along the horizon in the place where the sun would soon rise. This means that the lion-bodied Sphinx, with its due-east orientation, would have gazed directly on that morning at the one constellation in the sky that might reasonably be regarded as its own celestial counterpart.”

The foregoing discussion means that the monumental sculpture of the Sphinx may have existed at a time when (according to prevailing archaeological theory) there were no civilizations on earth and humans had not yet evolved beyond hunter-gatherer lifestyles. This matter is so radical that scholarly reticence in acknowledging it is understandable. If the Sphinx is indeed this old then contemporary assumptions regarding the development of civilization must be entirely reworked and the mystifying question of Plato's Atlantis should be given very serious consideration.






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CIVILIZATION AREA (THE TADJ MAHALL)


THE TADJ MAHALL

Taj Mahal, also spelled Tadj Mahallmausoleum complex in Agra, western Uttar Pradesh state, northern India, on the southern bank of the Yamuna (Jumna) River. In its harmonious proportions and its fluid incorporation of decorative elements, the Taj Mahal is distinguished as the finest example of Mughal architecture, a blend of Indian, Persian, and Islamic styles. One of the most beautiful structural compositions in the world, the Taj Mahal was designated a UNESCO World Heritage site in 1983.
It was built by the Mughal emperor Shah Jahān (reigned 1628–58) to immortalize his wife Mumtāz Maḥal (“Chosen One of the Palace”). The name Taj Mahal is a derivation of her name. She died in childbirth in 1631, after having been the emperor’s inseparable companion since their marriage in 1612. The plans for the complex have been attributed to various architects of the period, though the chief architect was probably Ustad Aḥmad Lahawrī, an Indian of Persian descent. The five principal elements of the complex—main gateway, garden, mosque, jawab (literally “answer”; a building mirroring the mosque), and mausoleum (including its four minarets)—were conceived and designed as a unified entity according to the tenets of Mughal building practice, which allowed no subsequent addition or alteration. Building commenced about 1632. More than 20,000 workers were employed from India, Persia, the Ottoman Empire, and Europe to complete the mausoleum itself by about 1638–39; the adjunct buildings were finished by 1643, and decoration work continued until at least 1647. In total, construction of the 42-acre (17-hectare) complex spanned 22 years.

Resting in the middle of a wide plinth 23 feet (7 metres) high, the mausoleum proper is of white marble that reflects hues according to the intensity of sunlight or moonlight. It has four nearly identical facades, each with a wide central arch rising to 108 feet (33 metres) and chamfered (slanted) corners incorporating smaller arches. The majestic central dome, which reaches a height of 240 feet (73 metres) at the tip of its finial, is surrounded by four lesser domes. The acoustics inside the main dome cause the single note of a flute to reverberate five times. The interior of the mausoleum is organized around an octagonal marble chamber ornamented with low-relief carvings and semiprecious stones (pietra dura); therein are the cenotaphs of Mumtāz Maḥal and Shah Jahān. These false tombs are enclosed by a finely wrought filigree marble screen. Beneath the tombs, at garden level, lie the true sarcophagi. Standing gracefully apart from the central building, at each of the four corners of the square plinth, are elegant minarets.
Flanking the mausoleum near the northwestern and northeastern edges of the garden, respectively, are two symmetrically identical buildings—the mosque, which faces east, and its jawab, which faces west and provides aesthetic balance. Built of red Sikri sandstone with marble-necked domes and architraves, they contrast in both colour and texture with the mausoleum’s white marble.
The garden is set out along classical Mughal lines—a square quartered by long watercourses (pools)—with walking paths, fountains, and ornamental trees. Enclosed by the walls and structures of the complex, it provides a striking approach to the mausoleum, which can be seen reflected in the garden’s central pools

 The southern end of the complex is graced by a wide red sandstone gateway with a recessed central arch two stories high. White marble paneling around the arch is inlaid with black Qurʾānic lettering and floral designs. The main arch is flanked by two pairs of smaller arches. Crowning the northern and southern facades of the gateway are matching rows of white chattris (chhattris; cupola-like structures), 11 to each facade, accompanied by thin ornamental minarets that rise to some 98 feet (30 metres). At the four corners of the structure are octagonal towers capped with larger chattris.



Two notable decorative features are repeated throughout the complex: pietra dura and Arabic calligraphy. As embodied in the Mughal craft, pietra dura (Italian: “hard stone”) incorporates the inlay of semiprecious stones of various colours, including lapis lazuli, jade, crystal, turquoise, and amethyst, in highly formalized and intertwining geometric and floral designs. The colours serve to moderate the dazzling expanse of the white Makrana marble. Under the direction of Amānat Khan al-Shīrāzī, Qurʾānic verses were inscribed across numerous sections of the Taj Mahal in calligraphy, central to Islamic artistic tradition. One of the inscriptions in the sandstone gateway is known as Daybreak (89:28–30) and invites the faithful to enter paradise. Calligraphy also encircles the soaring arched entrances to the mausoleum proper. To ensure a uniform appearance from the vantage point of the terrace, the lettering increases in size according to its relative height and distance from the viewer.
A tradition relates that Shah Jahān originally intended to build another mausoleum across the river to house his own remains, and the two structures were to be connected by a bridge. He was deposed by his son Aurangzeb, however, and imprisoned for the rest of his life in Agra Fort, on the right bank of the Yamuna River 1 mile (1.6 km) west of the Taj Mahal.



Over the centuries the Taj Mahal has been subject to neglect and decay. A major restoration was carried out at the beginning of the 20th century under the direction of Lord Curzon, then the British viceroy of India. More recently, air pollution caused by emissions from foundries and other nearby factories and exhaust from motor vehicles has damaged the mausoleum, notably its marble facade. A number of steps have been taken to reduce the threat to the monument, among them the closing of some foundries and the installation of pollution-control equipment at others, the creation of a parkland buffer zone around the complex, and the banning of nearby vehicular traffic. Night viewing of the Taj Mahal was banned from 1984 to 2004, because it was feared that the monument would be a target of Sikh militants. A restoration and research program for the Taj Mahal was initiated in 1998. Progress in improving environmental conditions around the monument, however, has been slow.
The Taj Mahal has increasingly come to be seen as an Indian cultural symbol. Some Hindu nationalist groups have attempted to diminish the importance of the Muslim influence in accounting for the origins and design of the Taj Mahal.

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