What are the fascinating experiences of visiting Egypt Are the monolithic sculptures. Very few
people talk about them. Of course, visiting the Chiral Museum is filled with
beautifully cut granite sculptures of all shapes and sizes. But I'm talking about the
monoliths, the real megalithic sculptures that are not reviewed enough, not discussed enough.
And today we have an expert who's going to bring us the details the
colossal sculptures that are a part of ancient Egypt that have to be seen to
be appreciated. We're talking about the Sphinx, We're talking about Abu Simbel,
We're talking about the Colossi of Memnon, the ramsey M, the various monstrosities
that are attributed to the pharaoh Ramses, and just how huge and amazing these
sculptures are. Today, my guest is Muhammad Embriam, returning to talk about
these amazing sculptures, how they were carved, what techniques were used, and
why we have to look beyond our current science and technology to appreciate them.
All this and more today on Earth Ancients for August fifth, twenty three.
This is Earth Ancients. I'm your host Cliff Dunning, Hey here, you
are welcome to the program today. This is a special time of year.
August is our tour launch. It's our Grand Egyptian Tour number five launch that
is going to be April twenty eighth through May nine, twenty twenty four.
And as part of today's presentation, we are launching officially launching this tour.
And this is important part of the year for us because our Egypt Tour,
not only is it a sacred tour, and for those of you listening who
have joined me and have had a chance to tour Egypt with Muhammad Imbrium,
it is unique, it is special, and what we like to say is
that it is a diplomatic tour. You are treated like a diplomat. As
soon as you get off your plane and land in Cairo, everything is handled
for you, from your visa arrangement to taking you to the hotel to checking
you in, from the start of the tour to the end when you're dropped
off, when you're dropped off at the Cairo airport to return home. Now,
as I mentioned, we've been doing this for five years. This tour
fills up very very quickly. Shin tour is special on so many different levels.
I have talked to other people who do tours in Egypt, and typically
it's part of a general audience tour, meaning that the visits to the temples,
to the pyramids, to the museums, to special sites are all part
of a general public tour the Earth Ancients. Grand Egyptian Tour is unique because
I'd say eighty percent of it is private. We have a private bust,
we have arrangements at the Red, the Bent, the Great Cheops Pyramid to
visit and survey the interiors privately without any interruptions. Many of the temples we
go to are private. One of my favorites is the half Or Temple.
I mentioned it all the time. That's in a city called Dendera, and
there's so much to take in. It's for most people, it's overwhelming,
and this is why the photographs that you take and use as memories are so
valuable. But again, today is the official launch of our Grand Egyptian Tour
five number five. Again, the dates are April twenty eight through May ninth,
twenty twenty four, and for the next sixty days we are giving a
significant discount and the discount code that you can use when your register is GET
twenty twenty four, Get twenty twenty four Grand Egyptian Tour twenty twenty four.
Obviously we're not spelling it out or short union it, so when you use
this code, you'll be given the discount GET twenty twenty four. That's two
hundred dollars off the registration price. That's only good for the next sixty days.
I'm also going to provide my email address. It's Earth Ancients for you
at gmail dot com. I'll say it again, Earth Ancients, the number
four, the letter you at at gmail dot com. And if you have
any questions whatsoever about this tour, the you know, it's funny. People
have been waiting for this, and a lot of people didn't go the last
couple of years because of the COVID pandemic. But we're already a third four
and we average about thirty people on these tours. We don't want to take
more than that because we have this luxury bus that we use that has an
onboard bathroom and has refrigerators. We keep cold water and goodies to chew on
as we go to different places, and if we have more than than thirty
that bus, I believe Max is at fifty. It's one of these luxury
buses where you can I've fallen asleep in in some of the different tours we've
been because the seats are so comfortable. But it's our guy, it's our
tour bus, and we don't want to take more than or like thirty people.
So, like I said, we're a third full, and that gives
you a chance to join us. So again, the Grand Egyptian Tour April
twenty eighth through me ninth, twenty twenty four. To register, go to
Earth Ancients dot com forward slash Tours t O U R S. You'll see
the banner. Click on it and check out the itinerary. It's evolving a
little bit, but it is. It's pretty good. It's a very very
good itinerary. Make sure you register as soon as possible, get your name
on the list, and then you get your deposit in and then we give
you the discount. Remember get is your discount code. Any questions Earth Ancients
for you at gmail dot com. This is a fun show. Today.
My guest is Muhammad Embrium. Our focus is on the colossal monolithic sculptures that
we encounter in Egypt, and I have to say this, there is no
other place on the planet that has sculpture that is made from granite, and
in some cases weighs up to a thousand tons. I'm gonna say that again,
one thousand tons. If you follow me on the Earth Ancients Facebook page,
I have posted numerous photos of the last tour where we went to Memphis,
Memphis, Egypt and saw this amazing piece of stonework known as the Ramsey
two sculpture. It is so big and it's it's it was damaged, it's
it's about two hundred and fifty tons, it's laying on its back and when
you and you're allowed to look at it very very closely, I think up
to a couple of feet away. But the intricacy of the carving, the
elegance of the of the body, the realism the clothing, just everything is
done with such a high level of perfection and detail that at first you don't
even consider the fact that it was machined. There's no way that the carving,
the sanding, the polishing was done well. I mean, it was
done by humans, but it's very very likely that the original cutting was done
by some form of machinery. I kind of referred to die cutting where you
have a block of stone and you punch in information and either lasers or cutting
devices or whatever is used to cut the rudimentary sculpture man, woman, animal,
whatever it is, and then another device is attached and the sanding's done,
and then the final polish is done. When you join us next year,
when you see this sculpture out of this world, it is on a
different scale, and a lot of people when they look at it, it's
so beautiful, it's like hot. But the thing is it's a monstrosity,
it's huge. How did they do it? Is the question. Now we're
going to go through a series of visits and discuss the monolithic sculpture that we
see on our tour from the Sphinx. Haven't been to Abu Symbol in a
couple of years, but that it's attributed to Ramsey's a second, and that
is a very interesting series of four monstrosities. They're ninety eight feet high.
Each figure is four of them is sixty six feet tall and in total the
design and four figures are four hundred and fifteen feet wide. Now you're gonna
hear today that it's not true the story of Ramses asking his artisans to carve
that. There's no way that it was carved by human hands, and we're
going to learn exactly why it's true. And also we hear about a document
which is it's kind of telling that during the time of Ramsey's he was asked
he asked one of his engineers to please repair I think it's it's a figure
number three. During an earthquake, the head and part of the shoulders were
damaged and fell down in front of the group of sculptures that make up the
Abu symbol design. His engineers basically report back and say, we can't do
it. We don't know what, we don't have the technology, we don't
have the skill set to do it. Well, that's a huge giveaway that
there's no way that Ramsey is the second actually had this thing commissioned it before
his time. And this is the narrative that we have with these monolithic sculptures
that we'll be talking about today. These pharrows had massive egos and they would
put their cartouche on these sculptures. Chris Dunn Christopher Dunn, in his earliest
books on Egypt, highlights this, especially at Luxor Temple, where we have
a group of granite monstrosities that weigh in at about two hundred and fifty tons
each, sculptures that are attributed to him. But what Chris Dunn reminds us
as we observe these huge monoliths is the fact that they all look the same.
They don't represent him whatsoever. And what they do in is the ideal
man, the ideal Homo sapiens sapiens. And it's very very likely, and
we'll hear more about this today, that these are pre Deluvian, pre flood,
pre cataclysm, the previous epoch of culture, and it's a different science,
it's a different physics. They developed over thousands of years and developed what
we think is a earth based science using gravity, using telurric energy, different
kinds of energy, and they sourced it in manners that we don't know about.
Now. We're gonna have Chris down on the program. I think his
books coming out next year in January. His new book basically outlines the power
generation that was channeled through and two the different devices that were used to cut
these monoliths. And it's going to bring up a whole new grouping, a
whole new generation of inquiry into this pre Deluvian culture. And the more we
can identify the tools that they use, the better will understand and have an
idea. This is far in a way above and beyond anything Egyptology can present
to us. They just do not have a grasp of anything having to do
with technology. And when you go to the Cairo Museum, which we will
visit, when you go to any Egyptian museum and read what they say about
sculptures, it's it's from the nineteen twenties, nineteen thirties, it's so behind
the times. And unfortunately, this is why doctor Karakuni, who we've had
on the show very very a few times times now from UCLA. She's an
Egyptologist, she flat out says Egyptology is dead. Now that's a terrible thing
I feel to say to young archaeologists who want to become an Egyptologist. But
the fact of the matter is if you cannot break out of this mindset that
things are cards with copper chisels and mallets, then you are relegated to the
dark ages. We see this with archaeology and their inability on many cases not
to use a multidisciplinary approach. And by the way, when I say multidisciplinary,
that means bringing in chemists, bringing in engineers, bringing in building experts
to look at sculptures, to look at pyramids, to look at buildings,
and now analyze them and then bring us their point of you. When you
do that, then you take the latest science, the latest technology, and
you apply it to the ancient past to get us up to speed. Now
we see this with these scans of the pyramid done by the Italian team that
just came up. They used a new technology to scan the Cheops Pyramid with
acoustic waves and what did they find. They found new rooms, new shafts,
new canals, new underground chambers that connect the Great Pyramid to waterway,
two canals that bring water into the guts of the pyramid and combine it with
perhaps according to Chris Dunn, hydrogen oxygen, and his theory is the Great
Pyramid is a machine. If you continue to think that these objects are for
the death cult of the Great Egyptians, that's the last dynasty, and it's
also not correct. So the challenge of Orthodox archaeology and Orthodox Egyptology is to
come up to speed because most of us when we go to these places like
Egypt and we're told that granite sculptures are carved with copper chisels and wooden mallets.
It's laughable. It's laughable. So and I'm not going to name names
of the representative representatives of Egyptology because we don't need to, we don't need
to mention them. So today's program goes through and takes us to looks Are.
We're going to see and talk about the Colossi of mem On the ramsey
M, the largest kneeling sculpture in the world, one thousand tons and at
its peak it was sixty two feet tall. We're also gonna I mentioned the
Sphinx. We're gonna talk about a number of sculptures that defy logic. And
when I say defy logic, we go to We're gonna talk about Hathor,
Karnac, looks Are and another places that have sculptures from what is thought was
the Old dynasty. Also, one of the other areas that is discussed is
are these amazing stone bowls and vases and plates and other what looks like a
dishware that is found in the thousands at Sakara. Now this is a real
mystery simply because it is the items are found in graves that date back four
or five thousand years and when you look at the graves, they're very rudimentary,
you know, wooden coffins, somewhat mummified, somewhat not. This is
some old dynasty material, old kingdom. But these items are prediluvian and we
don't know how they got there. But to date, there are over forty
thousand stone vases, plates, dishware that are found in museums. When they
were first distributed, you could buy them for a few hundred dollars. Now
they're a peace cost thousands. But the question is most of them were cut
on lathes, machines that spin at a high rate and are cut and there's
some very very anomalous features to these. This is part of our discussion as
well, So I want to mention that there is a very detailed gallery of
these sculpture monoliths and where they're sitting currently. It's very likely that we've only
seen the tip of the iceberg because so much of Egypt is still covered in
sand and there is a very slow progress when it comes to excavating. And
sculptures also bring up a lot of questions that are hard to answer, like
who to hell cut them and by what means because we're talking. When you
talk about rose granite, it's just a couple of degrees before diamond hardness,
and that's just unimaginable. And when you see the elegance. And for those
of you who are able to come on our grant Egyptian Tour five, we
and I I'm all all over Muhammad on this. I'm like, we have
to see these monoliths. We changed our itinerary this year. For those of
you who are on the twenty twenty three tour, I purposely changed the itinerary
while we were in Sakara. Cut it short, so we get on a
bus and drove whatever it was a forty five minute drive to the Outdoor Museum
of Memphis to see this monolithic sculpture that is known as the Ramsey two sculpture
that is just gorgeous two hundred and fifty tons. It's missing part of both
legs and it's somewhat damaged on one side, but it is elegant. It
is the most gorgeous sculpture or elbows ever see. And and so as these
come about, as they're discovered bits and pieces of the sculpture on our tours.
Other sculptures, I should say, well, we'll see other sculptures that
are up and coming and haven't been typically viewed by the public when they become
available. Well, we'll learn about it. So again, join us for
twenty twenty four go to Earth Ancients dot com forward slash Tours. So today's
program is Unknown Architects of Egypt's Colossal Sculpture and my guest is Muhammad Imbrium.
So I'm really excited this week because we are launching our twenty twenty four Grand
Egyptian Tour for the year, and this means Muhammad Imbrium is our guest today
and we are talking about one of the really fascinating aspects of visiting ancient Egypt,
which is the statuary. And why this is fascinating is that we really
don't know who these people are that built these colossal and I say colossal,
I'm talking about fifty to one thousand ton statues that are sprinkled on the itinerary
that we visit. Now today, Muhammad's with me. We're going to talk
about some of the sites that are quite unique, but we're also going to
talk real briefly about a period in Egyptian history that is not discussed by Egyptologists.
This is pre dynastic. This is a period where we find megalithic sized
temples. Obviously we see the pyramids, but on the tour that we take,
we encounter monstrosities of sculptures. We're talking, like I said, in
the megaton scope. So without further ado, Muhammad, it's great to see
you. How are you doing in Cairo? High cliff? Cairo is very
warm weather or hot weather. Hell, but I'm sending you greetings and strong
energy from Cairo. Fantastic, great to see you. Look, look fantastic.
I want to mention to our audience that Muhammad is releasing his first book
called Egypt Before Written History, and this comes out in the fall, and
we're going to bring a little bit of that material in to this discussion today
so we can get a sense of what early Egypt was all about. Mohammed,
you write that there is evidence of early man that goes back thousands of
years. How early is Homo sapien sapien found in Egypt? How early are
the skeletal remains? Okay, if we talk about human remains, we found
several skeletons from different ages. We found skeletons seventeen thousand BC. I'm talking
now about before ten thousand BC, because we have thousands of skeletons like nine
thousand BC eight thousand BC. But I'm talking now very early. So we
have seventeen thousands. We have twenty four thousand called the Copena men. This
is near Us one. We have thirty five thousand, thirty thirty five thousand
BC, thirty five thousand BC okay, near Abidus called Neslet hatter men.
And taramsa child. This is the oldest skeleton we found in Egypt. And
by the way, they were two, not just one, but it is
one in better condition. Boss are in bad condition, but there is one
in better condition than the other. We call it Taramsa child. It's for
a child about eight to ten years old. This is fifty five thousand BC.
That's a Homo sapien sapien modern human. Ah, yes, okay,
especially because that for a child. And as I told you, the skeleton
is not in a good shape. But the one we found fifty five thousand
BC is the one we can clearly say Homo sibian. Okay. Now,
one of the funny things about ancient Egypt is that at Sakara. More than
forty thousand of these perfectly carved stone balls, vases and I don't know just
used where have been discovered and we don't know how old they are, but
they're found in grave sites that are extremely old. Right, yes, um,
according to the the details of the surrounding area, these objects belonged to
the first and the Second dynasty. But this is against logic completely, this
is against any common sense. Why because we know for sure that dynasty dynasty
too and the era before them, pre dynastic Egyptians, we about five thousand
BC till seven thousand BC, maybe we can include nine thousand BC. They
were primitive, they have primitive tools, primitive techniques, and they were using
clay and month. So they're their objects, all the containers, the jars,
all the blades from clay. So no way to accept this fact or
this strong information that the high quality, highly polished jars from alabaster, from
granite, from dirite, from schist, and some of them from Lapis lazuli,
which is not Egyptian materials, some from ammetist and I'm telling you that
some of them it is not easy to be done nowadays. Was our modern
technology so we have to prepare very special machines, and it must be a
very high efficient machine. Was maybe a computer program to cut it from to
carve it from outside, and the same design from insight, So it is
just the hollow thing from insight space. No, it takes the same waves
and the same curves from insight. So one one what I say that the
only explanation I can convince me that these were made by people, advanced people
before what we call it bree Dynastics before nine thousand BC, before the Old
Kingdom, which would be twenty six hundred BC, before what we call them
dynastis, before before the dynasts, Okay, all of them is. So
we talk about a civilization existed and ended before ten thousand, five hundreds.
Okay, what do we know about a cataclysmic event that would wipe the civilization
of Predynastics off the planet? Now, Robert Shock talks about solar flares,
Graham Hancock talks about a huge asteroid hitting the Earth and causing a terminating event
wiping off the planetary life of humans or animals. But if this happened twelve
thousand plus years ago, how do we know what happened in Egypt. Do
you what do you ascribe to you? Do you think it's shocks idea?
And I ask you this because we know it's Sakara and other places like that.
There's underground cities or underground living spaces. But so what do you say
about that? I am familiar are more with the theory of doctor Robert Shock.
Okay, but if I if you allow me, I can add a
little bit that what that disaster in my opinion, and we must mention a
very important book for doctor bull lave La yet Oh right wrote. I meet
him personally three years in America, and we shared a little bit about that
book, okay, because his story is mentioned a story from the Egyptian mythology.
We call it the destruction of mankind. So the ancient Egyptians themselves wrote
a story about this, okay. So I think it was more like waves
from the sun, electromagnetic waves and then heat waves and some kind of radiation
in the technology in one second and killed people of course, so people had
to hide under the ground. Okay. Later after because of this, the
ice was melted on the north of and that the what we can call it
flood or the end of the ice age. At nine thousand and seven hundred
BC happened. Okay, so that's why. Now I took about two important
dates nine thousand and seven hundred BC. But before this, the actual reason
or disaster was ten thousand, five hundred BC. Ten. Yes, this
was the disaster which made or forced the survivors to hide under the ground like
these tunnel systems and underground shafts we can see easily in Sakkara and many other
places. By the way, I saw many in Loxor in Lace in Middle
Egypt called maybe yeah, and there are some in Giza under right, Okay,
So I think the flood nine thousand, seven hundred BC, maybe it
was not that bad. It was a way to clean and too, to
give a chance for Earth to survive again, and maybe for agriculture. Okay.
Now, one of the things I'd like your opinion on is the fact
that these predynastics, these early people built in megalithic stone, huge granite blocks
for floors. They're temples at Hathor and at Karnak and luks Are and other
places. These are megalithic stone structures that were I believe, and I want
your opinion. They were discovered by the Pharaohs and repurposed. But what do
you say about that that was very clear in many cases. Let me first
give you a very short story. Can you explain what we're talking about during
the time of frans As the second and we talk about New Kingdom time around
eleven hundred BC, and this supposed to be the time or the greatest time
of the Egyptian civilization. Okay, it was the beak of the technology,
knowledge, literature, medicine, everything. Okay. The story says that he
summoned his the high priest or the one who had the title as high priest
and also the architect or the supervisor of the royal buildings, and asking him
why you didn't fix the statue. They were referring to the broken statue of
Abu Simbol Temple the front. Oh yeah, there are four seated statues.
One is broken number three if you count from the right side. Yeah,
there was a kind of an earthquake. And that is the story which I
don't trust much about the reason. I think that the statue was already broken
and you're trying to fix it, Okay. So I always say, if
if the place or anything was made by a person and he has great ability
and or a great technology to do it. He can fix anything. Okay,
he can do something, but he couldn't Okay, So what does mean
that they didn't have the technology to fix it because they are not the builders
and the same thing or something similar the two statues in front of locks of
temple, remember these two big seat to the statues also have the name runs
as a second, when you are going inside the statue to the right side,
there is a big crack on the right side of the statue. Okay,
and they made the kind of a carving, like a square rectangular shape
to fill it with wood or maybe metal in order to control the crack because
the crack is expanding. Okay. I see that this is something not accepted
because if they are the builders, the true builders, they're going to take
this piece away and bring another piece and carve the new piece as a coupe
from the first statue. So my conclusion that we can see different techniques in
many statues, but we under stand and we can do good analysis and tracking
to each technique how it tools started and what kind of tools they had,
and what kind of challenges they faced and how they overcome these challenges except one
technique. We don't know anything about it, the megalithic size statues. I
don't know how they cut the stone from the first place. We don't know
how they transported the stone. Because we are talking about huge flocks. You
know, if we escape all the challenges, all the possible the difficulties,
there is one great challenge. How to move big clock like the obelisk as
an example, or like the standing status like the one used still in Memphis
of Air Museum. Okay, it is a huge, long beast of a
stone, which now this is how I see it every time I talk about
it can be cracked in any second during moving this piece from place to an,
from the quarry to the site, with any pressure difference between the front
and the bottom. That it is very possible that the workers can do mistakes,
very possible that some kind of vibration something wrong. Okay, it is
very high risk. I'm talking about almost ninety nine percent, maybe nine to
nine point nine. So this piece can be broken in any second. And
we are talking about long journey. It is not a journey of one hour
or show to distance. It's a long journey, especially from a swan to
loxor or from a swan Tokyo. Okay, So I don't think people with
primitive tools they will do this great risk. In my opinion, if they
made this big mistake, they will keep doing the same thing. Forever they
cut the piece of a stone, it will be broken or cracked, and
then they have to go again, and then it will be broken, and
then you'll go back again. Okay. So that's why I believe that these
megalithic structures were built by very advanced civilization, was great technology. And the
diagnostis the rulers inherited these sites, of course, and they put their names
on them. But I you know, you say that every time, and
you know Chris Dunn also believes the same thing when he wrote in his book
Advanced Machining Ancient Ancient Egypt. But do you think it's possible that ten fifteen,
twenty thousand years ago earth gravitational field was different and people were able to
move megalithic monolithic size multi ton blocks of granite with ease? Or is it
their technology was just very very acute and very accurate. Okay, that is
very good question. Are we talking about one challenge, which is the heavyweight
of the object only or we are talking about many challenges. Of course,
we are talking about many challenges. Of course. The tool, how they
what kind of tool can cut granite this way? What kind of tool can
or technique can go forty meters under the ground to cut long Because I can
cut small clock from any part of the query, but I can cut bigger
clucks, but from specific locations lists in number them, the more size is
I want the list options I have, right, Okay, so now we
we we don't talk anymore about heavyweight, but we we talk about very precise
geological work. And in my opinion, they must have devices to check the
quality of the ground, the quality of the stone, because if it ended
up was a kind of weak location or weak condensity contest, how to collect
condensity when the stone is not so strong in certain parts or consistency consistency Yeah,
okay, now I think it's called it's condensed contest. It'll come to
me in a minute. Yeah, but it is not like very strong,
Okay, like the especially when I talk about granite, the condensed dense tiers.
Okay, okay, the condensed team, they must become very sure that
it is high quality because as I told you the moment they try to get
this piece out, it will be broken. Okay, number three or number
four carving this how they do the facial details the neck are the muscles you
have seen. I always say that there are some statues can be taken to
the medicine school to show the students. This is the perfect human anatomy,
the subtleties of the muscular sure as they is exposed through the skin. Exactly.
Yeah, there is a statue in the Egyptian Museum that the statue is
having very strong fist tightened, fist closed first, and because of that,
I'm showing my clients. Now you can see the near the elbow, the
muscles that it happens only when you do your hand this way. Yeah,
okay, it's open. Let these muscles will not be clear. Yeah.
So it does not only the gravity problem not It is also how they cut,
how they transfer, how they carve. Okay, So yes, for
sure, in my opinion, we are talking about high technology, nothing else.
Yes, maybe the gravity was different one day, but I don't think
that this is the case. So you're talking about pure technology, a technological
race of humans. We're able to cut granite from the quarry transport it cut
it and set it in place purely with technology, nothing to do with gravity.
It was just technological society, exactly one technological solutions. We're gonna take
a short commercial break to allow our sponsors to identify themselves, and we will
be right back with my guest today, Muhammed Embraham. He is coming to
us today from Cairo. We'll be right back. My guest today is Mohammed
Embriham. He's coming to us from Cairo, and he is the author of
an upcoming book called Egypt Before Written History, and we're getting a little bit
of that book today. That book will not be out to the fall twenty
twenty three, but we are hearing from him firsthand his knowledge as someone who's
lived in Cairo his entire life, who is interpreting the antiquities through the indigenous
people who still live there. And we're speaking today on the monolithic monstrosities.
Are the colossus of statues that litter a number of different parts of Egypt that
lead us to believe that there was an older, very very sophisticated people that
used to live there. They really show us their prowess. And when we
go to the Colossi of Memnon, where you have a seven hundred and twenty
ton block six defeat tall two times that and how in the hell did they
move those? We don't know do it? And now and this is now,
as I to my people, this is another if I can call it,
funny information because we all all the time we talk about granite from us,
one granite from us. Now this is now different case. This is
quartzide from Cairo. So we are in Luxor and we are looking to a
stone. Quartzide stone was brought from Cairo. So as if they are telling
us now we have another team, completely different team deals quarteside. Because by
the way, this is very important to talk about and to make it clear
to our audience that when you deal with one type of a stone many years,
you become a professional. Okay, But as of the Egyptians, because
of their great knowledge, that was not something was not causing problems. Because
when you become an expert in one kind of stone, all your work must
be from this stone. But this is the one you understand, you know
all the conditions, all the troubles, right, But you'll find the Egyptians
used all the known stones in Egypt they used sandy stones, limestone, alabaster,
chest they used basalt, they used to granite, different types of granite,
the used quarters. So they are telling us that there were many groups
expert in different stone qualities. Yeah, I don't think this will come by
working long time. Now that it has to be. It has to be
knowledge first, great knowledge with high technology. I want to ask you we
were and by the way, thank you for changing our itinerary this year to
get a chance to visit Memphis, because that Ramsey Too sculpture was amazing.
But one of my questions to you, Mohammed, is when we see the
face of that sculpture, which which Egyptologists say is Ramsey is the second it's
the exact same face that we see. It looks are at the entrance and
also a number of other in fact, even at Abu symbol. The faces
are all unique, but they're they're almost like garden statues, you know,
like something you would buy at the store. There's like it's a mold.
They all look the same. How can Egyptologists say this is Ramsey's because Ramsey
doesn't look like any of these sculptures. By the way, they if they
hear you saying this, they will disagree. They will say no, these
are uh these status. The faces are representing the face of Rams as a
second but in idealistic style. Okay they this what they say is half correct,
half runk. Okay, half runk, because when we say Rahms is
a second half correct when they say idealistic case, this is the idealistic human.
Yes, the realistic men. Yeah, ok and um. There is
two statues for one king in looks of museums. The king is Tutmoses three,
and the name is written very clear. This one Tutmoses three. This
one Tutmoses three. But when you look to the face of this one is
different from the face of the especially the news. The nose is very clear
feature in the Moses status. They are not the same. So the one
that announced so one, I know because the material is not very hard to
carve. The other one is grand ury very hard. So the second one
close to RUMs is a second phase okay. And it is before RUMs is
a second so because sometime some people can still say maybe because it is after
so it used to belong to Ramses and the king bought his name. It
runs Tutmosis three before RUMs is a second So what in the case that that
one of the Predeluvian statues and has the same type of features, that this
is the perfect style or the perfect men, the perfect features of the men,
and they did the same or women, not only for the face,
but also the shoulders, the body, the height, the widths. Okay,
so the Predeluvian civilizations were doing this systatius to show us the idea of
the perfect man. It's amazing. I want you to talk real quickly about
the Caffree statue that we saw at the Cairo Museum. That is gorgeous,
but you made a very big statement. In fact, it impressed me enough
that I wrote an article that appeared in Ancient Origins magazine based on your assumption.
And I did what Chris Dunn did, which is mirror one side with
the other and it's it's idea. It's exact. One side is the same
as the other side, and the same thing with the shoulders, the chest,
the arms defeat. It's a beautiful sculpture, but it's extremely hard rock
granite. I think it's doright or something. Yeah, talk about this and
one of the things that you say is that this is a representation by the
Predeluvians of the ideal human male m exactly. This is statue bears the name
half our care um. We know different types of direct, and the famous
kind was used in ancient Egypt was called the direct mince. Okay, this
direct we don't know the scientific name for it. We know it is direct,
but it is like a very special type of direct. So you know
what they call it. They call it direct, so they because it's unique
for him exactly, and that a rare. It's so we don't see a
lot of carvings with that stone. So what you're saying, we have three
more okay, belong to the same roller or the same person who made this
this is statues, but no more statues in the in the entire civilization didn't
produce anything like this. So these four statues or five statues are unique,
very special group. Okay. And as you mentioned, yes, the statue
Chris dan in several times he mentioned was talking about the head of Rams's second
statue at looks to temple that it is symmetrical. Now, this statue of
Keefra, as you mentioned, es symmetrical from the top of the head till
the toes. Okay, And what kind of a challenge you are talking about
we are talking about curve parts checks the chin, the neck, and the
shoulders. We are not talking about two D art. You can make it
identically, okay. Now there are great chances for mistakes even if you are
using power tools. By the way, if if we check and I did,
that was some modern art fifty years ago and twenty years ago, and
they were made by power tools. So the architect was using power tools and
they are fabulous kind of art. But it is not symmetrical, okay.
And I'm not sure he was trying to do it symmetrical or no, but
it is not at all. It is very clear even with naked eyes.
But if you use very good tools to do analysis to the distance between the
left side and the right side all the way down, you will find that
all the parts of the body are mirroring each other, the right arm,
the left arm, the right shoulder, the left shoulder, the needs Okay.
That plus, as as you mentioned, the hardness of the store,
very hardest to not flexible like limestone or wood or entingles. And by the
way, some of the details is what they call it difficult details, the
tiny details like behind the ear, the ear itself from inside the details of
the They showed the cuticle, not only the nails of yeah, okay,
they show this, which is this is also again risky because it is a
very tiny detail, so it can be broken if they use manual tool a
hammer and a chisel can be broken. It means what it means that the
whole statue now is useless because there will be a big mistake. But they
did it because they had the proper tool. So yes, that statue is
an icon in the Egyptian Museum. So let me ask you real quickly what
the technology to cut like a cafre in these Ramseys sculptures. We don't know
what it is, but it's something extremely sophisticated. It's so it's all it's
otherworldly. It's so sophisticated because you can't cut this hard stone and represent and
create a human looking statue without great precision, which is what Chris Dunn uses
the terminology he uses a lot. So these people were very sophisticated, just
beyond anything we can understand. Right, yes, exactly, Look as I
say, and this is everybody must understand this fact. Sometimes you can have
good technology and you can do great stuff. But as I say, if
you do what I call it risky. Okay, Look, when you send
a project or request to a good company, I want to do this,
they must understand the chances of mistakes and risks. Okay. If it is
low, to do it. If it is high, they don't agree to
do it. So what I'm saying that doing these statues this is the highest
level of risk because the chances of mistakes are very high. By accepting to
do these requests, it means that the people who did this are not only
expert, but also they are very very very high in technology, and their
technology is very sophisticated. And it is not only about power tools, but
it is also how to use the power. What kind of as or machines
using these power tools? Yeah, that's amazing to my point, So,
are not talking about a man was advanced tool in his hand. No,
I'm talking about advancing advancing tool was being used by another robot or tool.
Okay. Yeah, do we see anything like these sculptures anywhere else in the
world. Have you seen anything that resembles a Ramsey's sculpture in say, China?
I mean, I can't. I don't know of any other representation that
are this sophisticated at all. I can tell you I visited the British Museum
twice, okay. I saw some Greek work there, and we do have
some in the Egyptian Museum, by the way, some statues from the Greek
era in Asia and the Roman time very nice, very beautiful, but not
symmetrical. The precision is not perfect, okay, and the material is not
very tough like the material is marble, okay, So easily answered. There
is nothing the same like these huge statues like crumps. Is the second statues
in anywhere else tendable? Amazing. I want my listeners to know that this
is a kind of a launch for our twenty twenty four tour. Many of
the places that we will be visiting are included, and the tour next year
twenty twenty four is April twenty eighth through May nine. For more information,
you can go to Earth Ancients dot com forward Slash tours and get all the
details. Mohammed and closing. One of the places we visit is the Mortuary
Temple of Ramsey's. The Ramsey Um has a statue called the Statue of the
Kneeling Man. It's estimated to weigh one thousand tons and when it was stay
and it was sixty two feet It's a monster. M How in the hell
did they cut that? And where is the Is that an as One quarry
piece? Do we think this is still rose granite from as One? That's
rose granite? Yes, okay, you just mentioned one of the biggest problems
in our history. A huge statue. The almost I used to say,
this is the biggest statue we have in from ancient Egypt. But later we
found one foot broken from a huge statue. And when we did the measures
of the of that foot, so the estimate weight of the statue when it
was complete one point one one thousand and seven hundred tons. Oh my god,
is almost twice bigger than the one in Ramuseum. What city was that
foot found in? At the north east Egypt called the Tennis? Oh so
it was so it was part of a temple that was there or something.
Yes. The funny thing this area also is related to rams As a second,
I mean, my whole feeling behind these real quickly, and they're not
gonna let you go because I know your time is limited. The ego of
Ramses and these other pharaohs to put their cartouche on an existing statue is just
beyond comprehension. What the hell are they thinking? You know what, I
have very interesting opinion about this. I think that not all of them were
done by Ramses himself. I think many were done later because Ramses became an
icon in the Egyptian history, and I think so many Egyptians, maybe way
after Ramses. They are the one who put the name Ranches everywhere as a
kind of owner, that this is the mighty Ranches, this is the great
Ranches. So let's put his name to owner of the police. Yeah,
but this would bring us to this big question, how dick. And by
the way, when we say the size is almost one thousand town, we
are talking about the size of the stone of the statue, not the original
block. I think the original clock was like fifteen hundred oh of the huge
neely man at the exactly because it was one day a big clock, right,
So they had to cut and to carve the details of the body.
Okay, so this will print again that the big story of how this is
what they call it, how they decided which location to cut this giant piece,
how they understood that it is very good area was high quality. How
did they cut the stone, how did they transport the stone? How did
they dealt with the Because the stone was put in a certain area above a
piece, so it is not one piece. Of course, if it is
one piece, it will be more problem. But in my opinion, it
is extra work to put heavy object above a big distant and to make it
perfect from the four sides. Kaya if you put it ronk was this great
pressure? I think there is no way to move it or to push it
to make it perfect unless they are using something to control gravity. They said,
the only solution the same thing. I explain it about opelisks like the
one we saw at Nctimberll and we see it all the time, seven hundred
ton, one bees seven hundred ton. So also how they put this perfect
on the base? The distance between the right side of the base and the
opelisk in the same distance all the sites. Do you think there's some kind
of energy at work here that's keeping it perfectly aligned and it's it's holding place.
It must be we are talking. Yes, Egypt is not a famous
place for earthquakes, but we had three major earthquakes in the last two thousand
years. Nothing habits olus, not any opelis. By the way, we
have win do we have kind of vibrations? Okay, so the opelisks are
there standing in glory and as I say, fighting and facing all the kind
of challenges. Amazing. My last question is, and this is not degrade
in slap the Egyptological community hard, but when we look at the Cafre statue
at the Caro Museum, beautiful world class, one of a kind statue,
and we see this scratched cartouche of Cafrey on the bottom, why don't Egyptologists
look at it and go, wait a minute, this was scratched in here
years or centuries after this sculpture was carved. It has to be somebody out
of their community. They're almost like I was told that's who it is,
so I accept that, but it doesn't make any sense. You understand exactly,
and this can be proven easily when you just see it. Okay,
I don't need to give you a lecture to prove it. Now take you
there. You sense the beauty of the statue, you see the precision,
and then you look to the name. You will immediately understand that we are
talking about two different hands to different tools. Okay, to different knowledge,
and that the case of so many other pieces. By the way, this
is not the only case. We have hand brids, maybe thousands of cases
like this, very high quality object, very poor quality of the name.
But I don't know why they don't pay attention to this, okay, because
that is very obvious that the one who both both the name is not the
same one who made the object. They're just not I mean, it's almost
common sense that there's a high quality statue and then somebody like Rams he puts
his name on it after the fact, and this is what I write.
I think that one of his priests are caffres priests or administrators were like,
you know, this kind of looks like you put your name on there.
Yeah. Yes. By the way, the old Kingdom is causing big problem
because if RUMs is a second pot his name on a statue during the new
Kingdom time, we can easily say, if we are like the ministream academics,
we could say maybe that is an old kingdom statue was made, because
all the kingdom should also some high technology. But if the statue is holding
a name of forced dynasty or an old kingdom ruler and it is not him,
They don't want to say this because who did it. It must be
someone before Sir, the dynasty, second dynasty or pre dynastic primitive civilization,
which is impossible, Yeah, because they cannot produce something like this. So
by just accepting that this name is drown this will change the history of Egypt
and will take us fought away to the stories of the Brie Euluvian civilizations.
They don't want to even go there. They don't want to even consider an
early civilization. It's just too much. Mohammed, wonderful to have you.
For those of you listening. Mohammed Embriam is our host for the fifth annual
Earth Ancients Grant Egyptian Tour April twenty eight, May ninth. For more information,
go to Earth Ancients dot com forward slash Tours. You'll see the banner
get your registration in. By the way, if you get your registration in
in the next sixty days, we'll give you a discount on the cost.
And this is what we do every year, kind of as an incentive.
But I have to let you know, this tour fills up fast and it
is one of the best tours I've done. We've been doing it now for
this is our fifth year. It is amazing, So Mohammed, thank you
for joining me. What should the person interested in visiting with you on your
tour expect. They must expect first, very high quality and I love you
when you say diplomatic treatment. Diplomatic tour. It is a diplomatic tour because
you're treated like a diplomat from the minute you step off in the Cairo all
the way to the end of the tour. It's wonderful. Number two,
they must expect a very good way explaining the history of ancient Egypt, logical
way, so much information, not only about history, about about art,
about geology, ancient geology, about astronomy, about We will talk about ancient
Egypt from so many perspectives, and that will give a very good knowledge to
our tour participants. Okay, one last thing for those of you listening Mohammed's
book. I guess he's coming out in this fall Egypt before Written History,
and maybe we'll be able to give portions of that out during the tour.
But I'm gonna have Mohammed on the show again this fall to discuss it.
So Mohammed, thank you for your time. Wonderful seeing you and wow,
so much to look forward to next year on our annual tour. Thanks du
Cliff, it was always a pleasure to be a speaker on ancient and answering
good hard questions. All right, take care of my friend. It's obvious
that a number of these places that we talked about, a number of the
sculptures that we are highlighting in this interview you couldn't see. This is why
I am placing fairly large galleries on both the Facebook pages, the international and
the group page. And these are up close and personal. There's a few
from my own librarian of images, a few from Mohammed's. These are,
without a doubt, the most impressive sculptures I've ever seen. I don't think
anywhere, and I asked this of Mohammed. I don't think there's any place
in the world quite like Egyptian monolithic sculptures. And you know, some of
them are so big you have to wonder what was the method of getting them
within the mechanism that cut and shaped and polished them. I was just thinking
today I was looking at some photos of the the apple symbol monstrosities, you
know, I mean, they're ninety eight almost one hundred feet tall by one
hundred and fifteen feet wide, and when you do a close up of their
faces, they're they're quite unique. Of these. There's four, excuse me,
there's three, and one sculpture is damaged. The head just below the
shoulders is broken off and lands in front of the feet. But when you
look at some of the early photographs, and I've posted these, like from
the late eighteen hundreds, and the photographers up on a sand dune that's equal
to the eye level of these colossus, it's amazing. First of all,
how they carved him. It just doesn't make any sense that these were carved
by anyone from any dynastic period. They're mechanically perfect, mechanically perfect. Another
thing that I've observed is that anything that has been attributed to Ramsey's the Second
looks the same. It's all like garden variety sculpture that you get at a
garden supply store to put out in your garden. They are they all look
the same, the same, pug nose, pouty lips, straightforward vision from
the eyes, the round face, very oval rounded faces, and their hands
and arms are laying on their lap, and they're all the same. Whether
it be in look Sore or Carnac or Memphis anywhere. And this guy,
when we talk about the Pharaohs, this guy had a monstrosity of an ego
because his cartoon shappeers everywhere. One of the and we talked about this earlier
in the interview, how Keefrin's statue in the museum at Cairo has this very
crudely scratched cartouche that someone put on there, and all of a sudden this
is attributed to Caffrey. Well, the same thing can be said for the
Ramsey two sculpture in Memphis. In this outdoor museum, the cartouche that's been
placed on his wrists and on his shoulder are very cruelly cut into his body,
almost like it's an afterthought. Someone took a chisel and just cut this
cartouche in there. Why they did this, and also why Egyptologists don't see
this massive alteration of these sculptures is really beyond me. It's one of those
things where they just don't care. And again Mohammed put it quite succinctly when
he says, if they begin looking into these histories, they're gonna have to
write rewrite history. So yeah, really, fascinating. Okay, so I'm
gonna be placing these galleries. Please take a look at the galleries. If
you're not a fan of Facebook, go to Earth Ancients dot com and look
for the link on the menu Facebook feed. Again, this is a quite
an i would say, impressive gallery of monolithic sculptures from different angles, a
lot of really nice close ups. And see what you think, you know,
see what you think. Now, when we have Chris doun on again,
probably I think it's gonna be early January twenty twenty four, that's when
his new book comes out. I'm going to spend a bit more time asking
him about the cutting techniques that he believes were used in the Ramsey sculptures that
he outlines his major focuses in Luksar, which is dominated by Ramsey sculptures in
at the entrance of the Luxor Temple and also on the interior. So well,
here directly from him, I want to get his opinion because it's been
a couple of years now since we've had him on the program, and I
think he is take may have evolved since we spoke to him, So look
forward to that again. This is also the launch of our twenty twenty four
Grand Egyptian Tour scheduled for April twenty eight through May the ninth. If you
want the discount, use the code get Grand Egyptian Tour Get twenty twenty four.
Put that down on the registration page. To register. To see the
current itinerary, go to Earth Ancients dot com Forward Slash Tours. We got
everything there. I am going to tweak it tenorary a little bit it but
for the most part it's been extremely impressive and always a pleasure to travel.
And remember we travel first class VIP or as Muhammad and I like to joke,
it's a diplomatic tour, so from the start to the finish you are
treated like a diplomat of your city, state or country. And it's really
a fun tour. It's very, very relaxing, and probably the most important
aspect, really really important, is that our price is about fifty percent less
than the average tour for twelve days to Egypt. Our competitors in the Alternative
Sciences Alternative theories genre are typically charging around ten thousand US for this tour.
Our tour prices about five and if you if you join somebody, if you're
a cup full or you don't mind sharing a room, you can get in
for about forty two hundred and then use the code of get twenty twenty four.
That's two hundred bucks off, So do the math. All you gotta
do is get over there and everything else is covered all right. For more
information or Ancients dot com forward slash tours, look for the banner, click
on it, and remember we're a third full already. We're only going to
take thirty people at the most. I don't want to take more than that.
We've never had more than I think a lot of the biggest group we
had was thirty five, So thirty thirty five max. Don't delay. Get
your registration in there, and I'm constantly updating the information. Muhammad will be
on again in the fall. I'm guessing October to talk about his new book,
and we'll also do a highlight on any updates. We have added the
itinerary for the Earth Ancients Grand Egyptian Tour April twenty eighth, May ninth.
Oh and if you have any questions whatsoever, send me an email. Send
it to Earth Ancients dot com for you the letter the number four the letter
you at gmail dot com and I'll get back to you pretty quick. Okay,
that's it for this program. I want to thank my guest today,
Muhammad Imbriam. He was coming to us from Cairo. As always the team
of Ruth Thomas, Mark Foster, and Chris Hazel. You guys rock and
I really appreciate your help. All right, take care of me well,
enjoy your summer, and we'll talk to you next time.