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In Search of Intention |
by David Bowman
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A naive reader facing the vast corpus of Egyptian herritage is confronted by two opposing currents: Egyptologists and those searching for alternate vision. From our point of view both options are unacceptable, while Egyptologists are fearcefull opponents of any 'spiritual' interpretation of the data collected from Egypt, the 'alternatives' miss the basic logical premises that could eventualy hold their odd theories together. The 'alternative Egyptology' is primarily fetishistic, since every remain of the ancient Egypt is glorified. They split the dimensions into tiny fractures from which they predict future and write books about it. But has anyone of those fringe apologets posed a question, how could an Egyptian stonemason produce a dimension of let's say 31.41893 cubits that hints to the beginning of the World War 2, by means of totaly obscure apology? Egyptologysts ridicule Pyramidiots and vice versa, but none of them is willing to accept the fact that Ancient Egyptian civilisation apprehended the universe in a slightly different manner than simple duality. For them art and science had no boundaries that would prevent the interraction of both fields, in fact we may speculate that they even haven't distinguished both discourses as separate. If any interpretation is possible it has to be - at least in the beginning - 'contextual', that means that to prove the intention we have to find ideas deeply rooted in Egyptian civilisation that vibrate the same note with proposed intention.
Compositions around the world prove to be in accordance with Vitruvius' prescriptions of using the small whole numbers as ratios of different parts of the composition. There are many theories and studies about the composition and symbolism of the Great Pyramid, and Giza plateau as a whole, but rarely is this basic Vitruvius' prescription followed, but it proves to be one of the best methods to check the validity of the analysis of composition. When measures are modular, meaning that there is a common module that is repeated as many time as needed but always by means of whole numbers, the analyzed composition begins to unfold and becomes a text open for interpretations. Until then it is difficult to consider that we are on the right track to solve the mystery. When thinking about such wonders like the Great Pyramid, and Giza plateau one has to keep in mind that the mystery of the pyramid was the mystery for the builders themselves.
Many strange irrational numbers were invented in order to suit some particular theory, but from the practical point of building are such speculations ridiculous, for no stonemason had the tool to achieve that perfection, nor the perfection of composition demands that, nor is the building as we can measure it today or hundred years ago, the same, but an approximation consumed by time. On the contrary, the best compositions are so simple that could be traced on the spot, with a wooden stick straight into the desert sand. Excavations beneath the Diocletian's Palace in Split, Croatia, revealed a curious plate with proportional scheme of an octagramic cross inscribed on it, rationalized according to Pell's series as 12 : 5. In order to build such a structure, when on terrain, mysticism comes second, the primarily importance represents a clear instruction to the builders, who must receive the information in so simple and obvious terms that the most careful execution of the plan is not in question.
The first step is to find a measure that best fits as a module in the composition. Only by knowing the original measure picked by the ancient architect, any possible explanation of the composition and symbolism can be hopefully exposed. This is not true for the geometrical analysis of the construction, since the relationships between the chosen points are always the same no matter of the type of measure. But the trouble with a geometrical analysis is that practically every composition, even so simple as the Great Pyramid, has so many target points to chose from, that many desires to present a coherent system can be somehow worked out. Such an analysis appears futile, leaving a place for a doubt which to chose for relevant, since there is no, or only vague methodology to sustain the theory.
According to author's knowledge, no complete attempt was made to convey all the existing measurements of the Giza plateau and the Great Pyramid into original measures, numbers which were intended by the builders, and that could be compared with numbers widely used to convey the intended message in other cultures. It would be strange if this numbers were not found on Giza plateau, but only such numbers found could ascertain the validity of the interpretation. If there is a message written in the geometry, if the pyramid is a text, it was transmitted also through time and space, and it would be a miracle if pyramid ideas were lost. The gnosis can only be transformed in time and space but not lost, what prove analyses of many structures across the globe, somehow always bearing some similarities in the code encrypted by means of measures.
The lack of data can be substituted by traces found, preserved under the huge pile of time like in archaeology, in art and religion. Especially the latter was carefully transmitted through time, but modified where suited the purpose on the way. Comparative analysis of the possible traces of the Egyptian magick hidden in the documents like Torah and a vast heritage of cabala, should dig out these fragments that once constituted the old Egyptian magick, magick primarily because unlike today, that was their view on the world, not scientific, nor artistic only, but magickal.
The next big step in exploring the ancient Egyptian spirit after Champollion's discovery would be the 'decipherment' of the values of the Egyptian alfabeth. A hard task concerning the possibilities and troubles concerning the nature of the hieroglyphs. With this discovery we would have a tool to explore the depths of Egyptian magick. It is to be learned, that every number has its numerical equivalent from the ancient times, when they haven't counted by numbers, but by letters. So every dimension of the composition holds also a symbolical message transmitted by means of gematria, one of the three major cabalistic practices that can be expressed by means of architecture. The first level of analysis is geometric, because it is easier to prove the inter-relation of the elements if it exists. The next would be gematric, but this doors has not been open yet.
An attempt to Interpret Egyptian symbolism is an unhealthy endeavor. Ancient Egypt seems to be reserved for all kinds of quazi-masonry and occult currents, both in need of ancient approval for their own insecurity and present lack of knowledge. We should be very carefully while unwrapping the mummy, having in mind the revenge of the mummy. It has always been very fanciful claiming the origins of this or that brotherhood to pertain to the ancient Egyptian initiatic school.
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