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. . . It seems that no matter which of the Ramses statues we look at, the same smiling face gazes through you, into infinity.
In order to accomplish this effect, the ancient sculptors worked to a uniform system of measurement and a design scheme. Just as today we replicate designs using uniform measures and consistent methods of manufacturing, in ancient Egypt there was a system of design, measurement, and manufacture used to create the Ramses statues. We can then ask the question: What was the fundamental scheme that the ancient Egyptians used to create and re-create this iconic image in stone?
. . . During this visit, I was able to examine them only visually and feel their smooth surfaces with my hand, but I was struck by their perfection of form, and I could not detect any deviation from a perfectly crafted contour. Throughout the course of my career, my hands have run across many different machined contours in order to find surface imperfections—and my contact with these Egyptian pieces seemed no different from my previous contact with objects that had been removed from a precision machining center. Except for some minor abrasions (presumably the result of the crowns falling to the ground) there were no pits or ripples or depressions in the compound curved surface. I felt only a flowing, exact surface that seemed as smooth as though it had been spun on a lathe. Because of its geometry, however, it would have been impossible to craft these crowns in such a manner. Along the length and width of each, the surface followed simple arcs that obviously were the result of careful deliberation in concept, design, and manufacture. From a cursory examination, it seemed clear to me that this result demanded adherence to geometry and precision in the manufacturing process.
. . . I took a digital image of one of the crowns and loaded it into my graphics program. I then duplicated the image and made a transparency of it so that I could compare opposite sides to determine if they were symmetrical. I discovered that they were—to a remarkable degree of accuracy. (See figures 1.4–1.6.)
Originally posted by PrplHrt
Side note, it's strange we never find evidence of the tools/"machines" used to accomplish these feats.
Uploaded by TheNewEraTimes on May 23, 2011
Ancient site expert Christopher Dunn, author of Giza Power, speaks with Peggy Sue Skipper about his work and latest book: Lost Technologies of Ancient Egypt.
Originally posted by Mary Rose
From the section “The Secrets of the Crown”:
. . . did the designer have any idea what he was asking of the craftsperson who would cut his design into stone? He might have said to his friends, “Hey, want to see what I did to drive the guys in the shop crazy? I just made the design of the crown exponentially more difficult to manufacture.”
To accomplish such cutting today in one of the hardest natural materials known and with such a high order of precision would require specialized equipment and careful planning. What tools did the ancient Egyptian artists and engineers possess? Were the tools they used as sophisticated as the products they created? What I discovered was not the product of a simple mind. The crowns are sophisticated products with difficult and exact surfaces that would challenge any craftsman, even one who is trained in today’s methods and equipped with today’s tools.
Published on Apr 7, 2012 by DocumentaryPlus
2011
The Revelation Of The Pyramids takes an in depth look into one of the seven wonders of the world, the Great Pyramids of Egypt. Mystery has surrounded these epic structures for centuries with theories varying from the scientific to the bizarre.
However with over thirty-seven years of in depth research taking in sites from China, Peru, Mexico and Egypt, one scientist has as at last managed first to understand and then to reveal what lies behind this greatest of archaeological mysteries: a message of paramount importance for all mankind, through time and space.
Originally posted by Mary Rose
I see that Christopher Dunn was a presenter last month at the Conference on Precession and Ancient Knowledge (CPAK) 2012.
Is anyone familiar with this conference?
What CPAK Is All About
Most history books still teach that about 5000 years ago mankind was a primitive hunter-gatherer incapable of complex thought. Under this paradigm megalithic structures found all over the world were built for sacrificial purposes, to deify a ruler, or to help a society ignorant of the seasons know when to plant its crops. Mankind was thought to be a brutish sort stuck in survival mode, incapable of little more than grunting and groaning. This myopic view is reinforced by misapplied evolutionary theory that requires that anything that came before us must be more primitive.
Christopher Dunn has an extensive background as a craftsman, starting his career as an indentured apprentice in his hometown of Manchester, England. Recruited by an aerospace manufacturing company, he immigrated to the United States in 1969. Over the past 49 years, Chris has worked at every level of high-tech manufacturing from machinist, toolmaker, programmer, and operator of high-powered industrial lasers, Project Engineer, and Laser Operations Manager. For the past 16 year, he has served as Human Resources Director for a Midwest aerospace manufacturer.
Originally posted by westo
reply to post by Mary Rose
There is a section focusing on Dunn @
Dunn on Ramses II
if you don't have time to watch the whole thing now, check this out!
Originally posted by Hanslune
Originally posted by westo
reply to post by Mary Rose
There is a section focusing on Dunn @
Dunn on Ramses II
if you don't have time to watch the whole thing now, check this out!
So to make a statue of Ramses they used 'complex tools' implying modern cutting and measuring technology - yet if they had such materials in the 12th century BC why did Ramses go to war riding a chariot and firing bronze tip arrows at the battle of Kadesh?
Rather odd don't you think?
Originally posted by buddhasystem
I find the silence in response to your simple question rather deafening.
Note that the artifacts found in Egypt (jewelry, house items, weapons) do not imply the existence of "modern tools" required for their manufacture. Well the statues of Ramses are quite amazing, but so are works by Michelangelo. And I think it's fairly safe to say that Michelangelo did not use "computer aided design".