Sacred Geometry in Ancient Egypt

Embed Doc
Copy Link
Readcast
Collections

CommentGo Back

Download

SacredGeometryinAncientEgypt

TheCosmicGeometry

Herodotus,thefatherofhistoryandanativeGreek,statedin500BCE:

Now,letmetalkmoreofEgyptforithasalotofadmirablethingsandwhatoneseesthereis superiortoanyothercountry.

TheAncientEgyptianworks,largeorsmall,areadmiredbyall,becausetheyareproportionallyharmoniousandassuchappealtoourinneraswellasouterfeelings.Thisharmonicdesignconceptispopularlyknownassacredgeometry—whereallfigurescouldbedrawnorcreatedusingastraightline(notevennecessarilyaruler)andcompass,i.e.withoutmeasurement(dependentonproportiononly).TheprinciplesofsacredgeometryareofAncientEgyptianorigin,whichconstitutedthebasisofharmonicproportions,asevidentintheirtemples,buildings,theology,...etc.TheAncientEgyptiandesignfollowedtheseprinciplesinwell-detailedcanons.PlatohimselfattestedtothelongevityoftheEgyptianharmoniccanonofproportion(sacredgeometry),whenhestated,

Thatthepicturesandstatuesmadetenthousandyearsago,areinnooneparticularbetteror worsethanwhattheynowmake.

Thekeytodivineharmonicproportion(sacredgeometry)istherelationshipbetweenprogressionofgrowthand proportion.Harmonicproportionandprogressionaretheessenceofthecreateduniverse.Itisconsistentwithnaturearoundus.Naturearoundusfollowsthisharmoniousrelationship.Thenaturalprogressionfollowsaseriesthatis popularizedintheWestasthe

Fibonacci Series

.SincethisSerieswasinexistencebeforeFibonacci(bornin1179CE),itshouldnotbearhisname.Fibonaccihimself andhisWesterncommentators,didnotevenclaimthatitwashis"creation".Letuscallitasitis—a

Summation Series

.Itisaprogressiveseries,whereyoustartwiththefirsttwonumbersintheAncientEgyptiansystem,i.e.2and3.Thenyouaddtheirtotaltotheprecedingnumber,andonandon;anyfigureisthesumofthetwoprecedingones.Theserieswouldthereforebe:2,3,5,8,13,21,34,55,89,144,233,377,610,...Thisseriesisreflectedthroughoutnature.Thenumberofseedsinasunflower,thepetalsofanyflower,thearrangementofpinecones,thegrowthofanautilusshell,etc...allfollowthesamepatternoftheseseries.TheoverwhelmingevidenceindicatesthattheSummationSerieswasknowntotheAncientEgyptians.ManyAncientEgyptianplansoftemplesandtombs,throughoutthehistoryofAncientEgypt,showalongtheirlongitudinalaxisandtransversely,dimensionsincubitsof1.72'(0.523m),giving“inclear”consecutivetermsoftheSummationSeries2,3,5,8,13,21,34,55,89,144,233,377,610,...TheSummationSeriesconformsperfectlywith,andcanberegardedasanexpressionof,Egyptianmathematics,whichhasbeendefinedbyeveryoneasanessentiallyadditiveprocedure.Thesummationcharacteroftheseries,anditsuse,wouldbeinaccordwiththepracticalaspectofEgyptianscience.Thisadditivityisobviousintheirreductionof multiplicationanddivisiontothesameprocessbybreakinguphighermultiplesintoasumofconsecutiveduplications.

ThisdocumentiscreatedwiththeunregisteredversionofDocument2PDFPilot.

ThereisevidenceabouttheknowledgeoftheSummationSeries,eversincethePyramid(erroneouslyknownasmortuary)Templeof

Khafra

(Chephren),atGiza,builtin2500BCE,i.e.about3700yearsbeforeFibonacci.Theessentialpointsofthetemple

[shownherein]

complywiththeSummationSeries,whichreachesthefigureof233cubitsinitstotallength,asmeasuredfromthepyramid,withTENconsecutivenumbersoftheseries.

TheSacredRatios



1.TheGoldenProportion

TheSummationSerieswastheoriginofAncientEgyptianharmonicdesign.Itoffersthetruepulsationofnaturalgrowth.Asanexample,theratiobetweeneachgroupoftwoconsecutivenumbersfollowsthehumanheartbeat pulsation:suddenincrease,asmalldip,ariseagain,andthenevenprogression,untilthenextheartbeat.So,astheseriesprogresses,theratiobetweensuccessivenumberstendstowardstheNeb(Golden)Proportion,towhichWesternacademiaassignedtheGreekalphabetletter



,eventhoughitwasknownandusedlongbeforetheGreeks.AndwhatisworseisthatthereisnotevenfactualevidencethattheGreeksknewitatall!TheGoldenProportioncanbeobtainedgraphicallyinseveralways,whichwereallcommonintheEgyptianbuildingsthroughoutitsdynastichistory.

2.TheCircleIndex

TheCircleIndexisthefunctionalrepresentationofthecircle.Itistheratiobetweenthecircumferenceofthecircletoitsdiameter.ItispopularizedbyWesternacademiabytheGreekletter



andgivenavalueof3.1415927.TheEgyptiansmanifestedtheirknowledgeofthecirclepropertiesandother curves,asearlyastheirsurvivingrecords.A3rdDynasty(~2630BCE)recordshowsthedefinitionofthecurveofaroof,inSakkara,byasystemof coordinates.Thisshowsthattheirknowledgeofthecircleenabledthemtocalculatethecoordinatesalongthisverticalcurve.Accordingly,theconstructionworkersfollowedprecisedimensionsintheirexecutedcircularcurves.SuchapplicationwasevidentinEgyptatleast2,000yearsbeforeArchimedeswalkedthisearth.

TheGoldenGate

InAncientEgypt,doorwayswerebuiltwithorwithoutapylononeachside.AfewexamplesfromdifferentperiodsshowthatthesimpledesignofEgyptiandoorwaysconformstoaharmonicanalysis.Therelationshipsbetweentheopeningsandthedoorjambswereharmonicallyproportioned.Theheightof theapertureandthefullheight,werealsoharmonicallydesigned.Pointsofinterestingharmonicproportionsare:

ThisdocumentiscreatedwiththeunregisteredversionofDocument2PDFPilot.

of 00

Category:	Uncategorized.
Rating:
Upload Date:	10/06/2009
Copyright:	Attribution Non-commercial
Tags:	This document has no tags.

Documents

People