The Seal of Atlantis - introduction & index page

Prehistoric Science – Complex Mathematics Encrypted in Art

Part 1 - Athena Engraving - the World's Most Important Picture

The Stone-Age engraving pictured here is not a free-hand drawing. It was constructed to exact specifications with revealing accuracy. It may be the most important image in humanity's possession. It is a living proof that more than 14,000 years ago someone had profound knowledge of Mathematics, and a method of encoding exact ideas into Art.

The work comes across as constructionist, and modern once we get past its pseudo-naive facade, and past our own presumptions. Art can express ideas, and even exact ideas like this image, which has a hermetic level fully impregnated with mathematical meaning. As such the engraving is cryptographic Science-Art with emphasis on the 'cryptographic' and 'science'.
The young lady's portrait is so impressive in its science, it may be the portrait of an all-knowing goddess, hence the name Athena Engraving. It changed my perspective on prehistory dramatically. Unprecedented, it is precedent to many topics, some encountered throughout ages, and some modern. Once my research hit the vein of prehistoric mathematics in Magdalenian art, it became uniquely suited to recognition of the same vein elsewhere, in the layout of the Giza pyramids in Egypt, the adjoined temples there, engraved glyphics at the Abydos temple of Seti I, and Ramses II, or the giant glyph of a monkey from the Nazca Lines in Peru.
This report covers a lot of ground and a long timeline. My suggestion is to start reading it from the most recent chapter - "Laying out the Great Giza Pyramids from a Line Segment." This chapter presents the clearest cut case in the report, conferring transparency onto essentials of the subject and the method. This case is also my offering to the folks, who crave academic credentials, or peer-reviewed publications before paying attention. It is a bona-fide academic accomplishment, revealing, and basking in, the glory of Giza's geometric science. It may be objectively weighed against the rest of the field. My previous studies were and still are one-horse races, their subjects undisturbed by other researchers. This time it is about a successful solution
to a challenging problem, which has existed since 1883, and has seen its fair share of proposed solutions. Leading such a distinguished field to a perfect and hopefully convincing solution of Giza's layout then ought to reflect positively on my other research, and suggest that in spite of the fantastic science-fiction like plot, it may be similarly valid.

Part 1 – Ancient Egypt

Laying Out the Great Giza Pyramids from a Line Segment

Since 1883, the year Sir William Flinders Petrie published his geodetic survey of the three great Giza Pyramids, it has been analyzed for geometric, and numeric significance. To show that the three pyramids are parts of one overall plan, there have been attempts to generate the layout of the three great pyramids from pure ideas. Giza abounds with inspiring relationships. But, to safely pin ideas on the designers, those have to be tested in redesigning of the plan, and found to be compellingly accurate, if indeed the builders had been capable of such accuracy. Since there is a number of examples showcasing the knack of Giza builders for accuracy, such as that found in the Grand Gallery, or in the total north-to-south distance between the pyramids, our standard should be as demanding.
Yet, I discovered a method of producing the plan of Giza by exact geometric construction, which complies perfectly to Petrie's measurements. This geometry bases on the secrets of Golden Section (Sacred Geometry), hence it is of the most appropriate type for sacred grounds like Giza. How glad will the skeptically leaning academy be to hear of it? I suspect, not very.

the Horizontal Column & the Rising Column

Giza Pyramid Temples & the Golden Section

The pyramid temples are conspicuous by the inordinate quantity of golden rectangles in their layout.

The Abydos Helicopter & the Golden Section

Abydoská helikoptéra & Zlatý řez ( Czech version)

©Bruce Rawles background photographed in November1992

If this were modern art, we would have no doubt that it clearly shows a helicopter next to a stacked formation of three harder to identify advanced craft. Disavowal stems strictly from the fact that this art is over 3,000 years old, and we know that there was no advanced technology and science in our misty past - don't we?
The scene had caused some sensation in the nineties, but soon Egyptologists claimed to have identified at least two sets of overlapping hieroglyphics in this picture. This proffered a simple scientific explanation: What we see is a palimpsest, i.e., an accidental illusion. First there were some original glyphs, which were later hidden by plaster, and replaced by a set of different glyphs, engraved partially in stone and partially in plaster. Eventually, the plaster fell out, and the overlapping hieroglyphs began looking like images of modern craft.. With this simple explanation science seemed to have prevailed once again over sensationalism.
The present scientific consensus depends on the assumption of Chaos as the ruling creative force behind the Abydos Helicopter scene. To thwart the consensus, and to disprove the Chaos explanation, it must be shown that the glyphs obey a clear rational order. My testing leads to such a conclusion : The Abydos Helicopter scene is not a palimpsest, it is a design.

Hesire's engraving & the Golden Section

Part 2 - The Nazca Monkey Report - The Seal of Atlantis

14,000 – 2,000 years ago – Nazca Lines, Peru - Someone had profound knowledge of Mathematics, and a method of encoding exact ideas into Art

The mystery deepens, when we observe how the giant ground drawing of a monkey from Nazca, Peru is identical to the Athena Engraving in that it uses the same template, the same starting configuration, and encoding system. What emanates from our seemingly primitive subjects of study is abstract and elaborate scientific thought - enough evidence in fact, to force the conclusion that the creators of La Marche, and Nazca were part of the same agency. It appears that they worked on the same project, too. To span the Old and the New Worlds across the gulf of millenia is as astonishing as any natural miracle.
A stone tablet from Stone-Age France, and a prehistoric glyph from a sun-baked desert in Peru combine to prove the existence of prehistoric science. The template, the unique geometrical figure, which the two sites share is the key to sealing the issue. For want of a better candidate civilization from prehistory, I dubbed it "the Seal of Atlantis". Honestly, the situation has potential, learning how to understand the ancient code may have importance of cosmic proportions..

This configuration seems to be terribly important at Nazca, as well as La Marche.

Interesting art. An eye of a monkey, a sol spinning off balls of fire.. Did I author it? Absolutely not! Whoever did the Nazca monkey, must have had this on the drawing board once, as well.

Simplicity 13 - construction of a 5-pointed star in thirteen steps learned from the Nazca monkey

Nazca - Giza connection

The glyph of the monkey is much simpler than the Athena engraving. Its structure seems to focus on recording the fastest method of how to construct the regular 5-pointed star, the very same method which forms the foundation of the Giza pyramids.

Stone-Age France

The rock shelter of La Marche near Lussac-les-Chateaux, southern France - a Stone-Age Academy?

Geometric basis of the Athena Engraving

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Early on, I had translated some elements of the drawing into the above configuration. There is a cone and there is a square. These are found superimposed over each other, and some harmony between the two is visible right away.
I was left wondering, the arrangement didn't seem accidental. The chaos just wasn't there. Still, I had no idea that the design was a classic. Eventually, after a couple of months, or so, I found a complete solution to the configuration.
I ask the reader to verify the sequencing of those events: At first, I had identified primitive geometrical elements in the engraving. These elements became fixed positionally while the position was still a big unknown. Making sense out of it came afterwards. In this sense, it was a blind search, therefore, the experiment was not under my control.
There is no other way around this issue. It was a blind one-in-a-million-millions shot, which was not likely to amount to anything worthwhile. In such case, I would have just written the whole thing off as educational fun. Understanding this, and then verifying the theoretical depth of the engraving, the reader might glimpse the truth. So far, it is a wounded truth. I have myself experienced incredulity at the thought that engravings like these should hide high level geometric code from an agency of some advanced prehistoric civilisation. If all I ever had to go on would be just the Athena engraving, I'd probably not believe my own analysis. That's how fantastic this issue is. But, my own incredulity cannot get past the cold, hard facts brought out by further research, which serve as utter confirmation.
As I was discovering the Cone and Square configuration, I had no idea that it was priming my path right into the center of a great controversy with topics like the Golden Section & Ancient Egypt, Lost Science, and Lost Advanced Civilisation. Once I understood what I had gotten into, I also realized that this Magdalenian science-art was the precursor of all the controversy, and should be decisive to its resolution.

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The geometric creations within Athena's torso belong to the Square, the second part of the basic Cone & Square configuration. Here we see the “Pyrostar” configuration.

Image boundary lines – the Frame

Boundary lines form the simplest aspect of the image - the Frame. At the first glance, the thirteen whole numbers expressing distances between points of the Frame in millimeters - are random. Yet, if our goal were to show off advanced knowledge of Pi, Phi,and Equinoctial Precession, through just a set of a few whole numbers - then these numbers would be ideal choices, presented in their ideal order. The Frame encodes the rate of equinoctial precession at par to our modern value. This fact suggests that this rate has not changed much at all since, quite contrary to the prevalent current opinion, all in all, a pretty valuable tidbit of information. It took modern instruments in the hands of scientists to arrive at this value. What did it take in prehistory?

Equinoctial Precession - the Osiris Numbers - number 432

Approximations of Pi, Phi, equinoctial precession, Osiris nmbers

Approximations of Pi, Phi, equinoctial precession, Osiris nmbers

Frame's Geometry

a: The Hex-Machine – a family of three hexagons

b: Two systematically related 5-pointed stars

Articles

Baalbek, Bekaa Valley, Lebanon

If the image seems too big for this page, look again. It is not nearly big enough. The panoramic view does not even span the Trilithon, the three blocks of stone in a row on the west-side of the Baalbek Terrace. They are in a class of their own, by far the heaviest stones ever transported on this Earth - Super-cyclopean, Hyper-colossal, Über-duper, or a term of your own, take a pick. The block on the right steadies the Jupiter's temple. The temple looks Roman, the platform looms alien. We know that Romans built the temple, but archaeological opinion also credits the blocks to Roman achievements. Yet, there are some hefty reasons, and some very small, but telling details, which put the orthodox academic platform on shaky ground. The blocks must be thousands of years older. Is technology of the prehistoric agency, which left us La Marche engravings, and Nazca Lines behind their anomalous existence?

The Headless Venuses

Another La Marche engraving. It is known as one of strange La Marche engravings of headless obese females. Of course, the strangeness is due to the perception being utterly wrong. There are so many other things to look at. The obese woman without a head is an illusion.

Below: A couple of impressions from another La Marche engraving.

The Oldest Image of a Horseman?

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A cut-out from an image on a wall at Les Trois Fréres, France,
also dating back to the Magdalenian period of the Old Stone Age.

World's Oldest Image of a Gunfighter?

I took the liberty of reorienting Lwoff's drawing so the figure's feet are firmly planted on the ground.
This way the stance looks natural.

The Face on Mars & the Golden Section

The overall shape of the famous 'Face on Mars' in terms of Geometry is a stack of three Golden Rectangles.

I stand by this result, whether it is an accident of nature, or not, the formal coincidence is there.. It is not complex enough, however, to warrant a jump to conclusions about its artificiality.

For reader's amusement, another face on Mars happens to be strongly reminiscent of my high school grad picture. This is quite an illusion, as 'pareidolia' goes. Strangely, the timing of my findings had coincided with the nearest approach of Mars to Earth in decades ☺

Fostering love of mathematics is a calculated risk..

© Jiri Mruzek - Vancouver, BC, Canada - Send me a few words. : mynameeatyahoodotcom Discussion Forum

Links of interest
http://www.atlantisquest.com/index.html