Ancient Egypt

"The Ropes of Egypt  -- Kite Control."

Introduction:

How did they build the pyramids? How were the megaliths moved and placed? Where and how did the hieroglyphs develop? The symbols and art we see are so wonderful that there must be more to the story. There must be things that haven't been understood yet. Some of the current explanations don't make sense. They seem too simplistic and impractical. Herodotus didn't explain it all to my satisfaction. One hundred thousand slaves? That's a lot of onions! Not likely. Others agree.

Wouldn't it be wonderful to figure out how the Egyptians were able to achieve some of their most impressive accomplishments? Follow along with me please, while I develop an idea, namely, the use of the wind to lift and move large stones. Dr. Maureen Clemmons gets the credit for this original idea (See credits below). I will try herein to extend this idea to the step-wise overland transport of very large megalithic stones.

Building the Pyramid:

The Great Pyramid is of the most interest. All the other pyramids seem to be simple attempts to copy it. I know that this idea does not necessarily fit very well with the Yackademic belief that the Great Pyramid was constructed during the Fourth Dynasty. I'm not too sure of that idea however.

Hypothesis:

The large stones comprising the body of the Great Pyramid, were moved and lifted into place using wind (Clemmons). The use of the wind required the development of kites, ropes and the science of controlling same. The kites provided the lifting force (Clemmons), but just as importantly, there had to be a controlling holdback force and moving force. A kite moving a large stone would have to be shifted laterally to the wind direction to move it as desired. The kite would need to be controlled with great precision.

Dynasty:

The time of the development of the use of kites might be established with a bit of confidence. Egyptian art, history and myth give clues. Of course, art would develop after the use of tools used in an engineering technique. It is known that the djed pillar was first used as an amulet in the late Old Kingdom. The symbols described below were all used in conjunction with one another. the symbols are so specific, wonderful and complex that they must have had a genesis as some type of tool or construction technique. The tomb of Seti I features these symbols in a major way.

We find that the God Ptah had a center of influence in Memphis. This place is interesting in that it was near the great limestone quarries of Lura and in a politically neutral location precisely between Upper and Lower Egypt. The white Lura limestone was the hard, high quality limestone used to case the Great Pyramid. It can take a long time to become a god, perhaps 25 generations (about 500 years). In the case of Ptah, it is possible that he humanly did some great things and was honored for them much later. After a while his accomplishments were so venerated that he was called a god. His humanity was thereby minimized. His symbol was a staff that combined three other symbols, the ankh, the djed pillar and the was-scepter. These symbols are found together in hieroglyphic writing. Ptah was called The Creator God of Memphis and was the patron deity of craftsman. He wore a skullcap, for an unknown reason -- it may have indicated great intellect. Imhotep his son, also wore a skullcap -- no other Egyptians wore skullcaps. Imhotep wore a linen kilt and often was shown with a papyrus scroll on his lap. Thoth, the god of wisdom, may have inspired Ptah.

The kites may have been constructed of linen and scarab beetle exudates (Clemmons). Papyrus may have also been used. There is some art that seems to indicate that the Egyptian lily may have played a role also.

Symbols:

The ankh is the symbol of life. Before it was the symbol of life it must have been a useful tool. The ankh can be seen throughout certain periods of Egyptian art and not others. There are several forms of the ankh. Some show rope wrapped around the main shaft. It is usually depicted as a tool in the hand of a god or with the cobra threaded through it. Sometimes it is shown hanging from the arm of a god. The ankh can be used to control the passage of rope. More turns of rope around the arms give more friction control. It may have been used primarily for the smooth and easy feeding out of rope.

The djed pillar is the symbol of stability, often standing on Maat, the god of truth (a solid foundation). The pillar has three places near its top where ropes may be wound around the pillar. The ropes might be used to hold a kite from flying away. In some illustrations the middle groove has both of the eyes of Horus or is simply colored red. It could be that the rope from the middle section went up to the kite Horus. The other two rope sections are colored black and might have been anchored to the ground. The pillar was the tool that allowed the kite and its load to move laterally to the wind direction.

The was-scepter was an important symbol of  power. It is shown, usually vertical, in the hands of many of the gods.  The top of the scepter has a slanted handle that is reminiscent of the Head of Seth the dog-like animal (from Sirius?) see Oakes, page 294. The shaft of the scepter may have derived from a down hanging rope, see Oakes, page 208. The bottom of the scepter is sometimes shown with the shen attached --- meaning attached at the bottom. The scepter may have originally represented a kite flying. The scepter is black. See Seth below.

The cobra is a zoomorphic (hepatomorphic) symbol representing the rope. Flying serpents are representations of ropes going up to a flying kite.

Horus is the symbol of the kite above. The kite is shown winged with the wings in different configurations -- lifted up or sloping down. Horus also appears as the udjat eye. The down-coming parts of the eye are the legs and wings of Horus. The eye may also refer to the wind direction -- to or from.

The shen is the round rope symbol shown in the claws of Horus and flying vultures. It represents a rope attachment point. It is a stylized knot. The shen is also seen sometimes at the bottom of the rope. The cartouche has developed from the shen. They are both circles of knotted rope.

Horus and Osiris may be names of the two main stone lifting ropes that are connected to the kite.

Isis and Nephthys may be the names of the lighter weight control ropes that connect downwind to the kite. These connect at the lower back of the kite in the area equivalent to the feet of Horus. They are closely associated with the ankh, the djed pillar and the was-scepter.

Seth is also the principle of hold-back, hold-down or attached to the earth. His color is kemet -- the color of the soil of the fecund Nile Valley, an earthy black. The Seth animal is a zoomorphic depiction of the hold-down principle that is very closely related to the was-scepter. The head of the animal is like the rope that goes over the top of the solar disk. The body of the animal is thin like the rope. The tail of the animal is forked like the bottom of the was-scepter. The fork represents the tying down of the rope to the shen. The ears of the animal are shaped (remotely) like the djed pillar. The animal is black colored. The alligator and the hippopotamus also represent attachment to the earth because the Nile river is attached to the earth. Seth may also be the name of a lightweight rope connected upwind to the kite and used to position the kite prior to the heavy lifting. Seth is associated with the idea of attachment to the earth.

Maat is the foundation stone that Seth is placed on. The stone is used as the principle of a mason's square. It is straight, true, flat, level, solid and dependable. It may also mean a foundational connection to the earth. An area where a stake may be placed.

Shu is the god of the winds. The winged vulture may represent the South Wind. It is a symbol of Upper Egypt.

The Solar Disk may be signaling mirror (Clemmons).

The Rope Block is a device that lets a rope slip one way and prevents back slippage (Clemmons). This device might be used with an ankh.

The Load Snubber is a stone fixture used to secure two ropes around the load prior to lifting. It is similar shaped like a cylinder with six grooves on the outside. Shown below.

The Load Bumper is a fibrous fixture similar to a loop of knotted rope that is used to protect the stone during transport.

The Pyramid Hieroglyphic means "build" and is found in close association with the other symbols described herein.

Ancient Art:

Much of the ancient Egyptian flat-panel art was done in three ways: relief, incised and painted. Art done in relief stands out from the background stone and requires much effort to accomplish. High quality white Tura limestone was used which allowed for a great deal of detail. Incised art has a background which has not been carved and which required less effort to do. Most of the incised are was done on a lower quality sandstone. Painted art uses the least effort. Of the three types, perhaps the relief art shows the highest degree of development. The other types were done after the relief art, indicating a deterioration or at least a simplification of the methods employed. There are also examples done as carved wood.

PICTURE, Aldred (See credits below), page 38. A high quality limestone relief of Sethos I, 1291-1279 BC, shows the king supported by Edjo, the cobra goddess and by Nekhebet, the vulture goddess. (The vulture may indicate Upper Egypt or a south wind.) The relief has many symbols relating to ropes. At the bottom there are many ropes shown emanating from papyrus and reed plants and wrapped around the symbol of union. This may indicate the substances used to make rope. The winged disk is shown at the top. There are many cobras (ropes) hanging from his headdress. Within the hieroglyphic writing we find the ankh, the was-scepter, the build-pyramid and others commonly found with these symbols.

PICTURE, Aldred, page 50. Pectoral jewelry. This piece shows; the shen in the clutches of Horus, cobra ropes threaded around the solar disk and down through ankhs, a rope-weight on the pharaoh's elbow and ropes coming from the pharaoh's head and held by the other leg of Horus. Note the ropes shown on the cross of the ankhs, at the bottom of the cartouche and on the shens.

PICTURE, Aldred, page 85. A high quality limestone relief of Sesostris I, 1271-1228 BC, shows the king and Ptah. This picture prominently shows the djed pillar several times. All the other rope handling symbols are here too: the ankh, the was-scepter, the build-pyramid and others. The zigzag rope symbol is prominent.

PICTURE, Aldred, page 86. An eroded limestone relief of Djoser, 2687-2667 BC. Note an ankh in the clutches of Horus flying. The ankh shows an earlier stage of development, i.e.; two tails. There are other ankhs. Shens are shown behind his leg underneath a hold-back stone fixture. They may be on the ground. He holds a flail, but there are no djed pillars or was-scepters. Perhaps they had not been developed yet. Also see Oakes, page 92.

PICTURE, Aldred, page 87. A high quality limestone relief of Horus by Djet, 3033-3000 BC. Horus is shown above, a cobra rope in between and three pillars, perhaps precursors of the djed pillar. Note the name of the king is similar to the name of the pillar.

PICTURE, Aldred, page 101. A high quality limestone relief of The Sun God, Djoser 2687-2667. There is a long serpent rope arching over him an another one near him that reaches up to a sun disk. He holds an ankh and a was-scepter. There are no djed pillars. The rope symbol is associated  repeatedly by an indication of three, perhaps three ropes. The Eye of Horus is shown. See also Oakes, page 77. The images are similar but not the same one.

PICTURE, Aldred, page 179. A high quality limestone relief of Horus and Seth contending (Sesostris I, 1271-1228 BC). Ropes, a square knot, ankhs, was-scepters, djed pillars, build-pyramids, and others. The square knot is tied around a very large symbol of union. Similarities are found in Aldred, page 38.

PICTURE, Oakes, page 4, 113. A high quality limestone? relief with paint showing Hathor and Seti I, 1294-1279 BC. Seti is dressed in a very fine cloth. There is a modified was-scepter. The ankh and the build-pyramid signs are present. There is no djed pillar. The cartouche on the right shows the rope holdback (Clemmons).

PICTURE, Oakes, page 41. An incised ivory comb showing was-scepters, wings and Horus. There is an interesting ankh shown with two tails. Also the symbols of Djet. See Aldred, page 87.

Oakes, page 52. Unas, 2375-2345 BC. Shu, the god of air, is asked to lift the king Unas, up.

PICTURE, Oakes, page 92. Queen Hatshepsut, 1473-1458 BC. An incised sandstone showing the ankh with arms that hold a fan. There are many ankhs, djed pillars, build pyramids, and other rope related symbols.

PICTURE, Oakes, page 136. A chest being built. Several djed pillars shown next to modified ankhs.

PICTURE, Oakes, page 158. An ankh in the talons of a flying vulture.

PICTURE, Oakes, page 159. A series of symbols chained along three ropes.

PICTURE, Oakes, page 164. Seti I, 1294-1279 BC. A large djed pillar. Sitting on the Maat foundation. Note the eyes of Horus in the middle slot. The rope from this slot may have gone up to the kite. Many rope symbols shown.

PICTURE, Oakes, page 188. Mentuhotep II, 2055-2004 BC. Behind his crown is seen the hieroglyphs for one thousand and duration, indicating a wish for eternal life. We don't question the meaning at this late date, but we are interested in the origin of the symbols. This combination has the appearance of a kite system. Also, the symbol of union is seen twice including in the serekh to the left (see above Aldred, page 179).

PICTURE, Oakes, page 188. Seti I, 1294-1279 BC. Here is an example of a pair long ropes becoming a cobras. Look on the extreme lower left.

PICTURE, Oakes, page 188. Seti I, 1294-1279 BC. Here is an excellent recently painted example of a combined scepter: the was-scepter, the ankh and the djed pillar. Note that the center groove on the pillar is red colored and the two adjacent grooves are black. This is better seen in other views of Seti's djed pillars. Another interesting feature of this pillar can be seen at the bottom. It appears that the shaft is a larger diameter handle and that the bottom fixture is a tool extending from the handle.

PICTURE, Oakes, page 208. Ramses II, 1279-1213 BC. Here is a hint that the was-scepter may have been a symbol that developed from the image of a rope dangling off the winged solar disk. Seth and Horus both are holding a rope, curved at the top as from around the solar disk and ending in a shen and an alligator at the bottom. We know that Seth and Horus contended (page 285). This idea may have developed from the idea that the rope had tension during kite flying. Horus was above (page 285), Seth was below. As above, so below. The udjat eye may have simply been a certain model of kite. Note the ropes coming out of the bottom of the eye. Note a heavy rope leading down and a lighter rope leading to the side -- the control rope. Discussed under Kite Flying, next section.

PICTURE, Oakes, page 286. Tutankhamun, 1336-1327 BC. The god Heh is shown holding ropes. The imagery of these ropes is similar to the description above (see Oakes, page 208). Note the detail of the large ankh and its position on the elbow of Heh. There is rope wrapped around the middle of the ankh. Note that the cobras go through ankhs and shens. The right and left winged disks also have a cobra coming down off the inside of the design. These cobras go through an ankh-like connection on the back of Horus. They also have a rope connected to the feet.

PICTURE, Oakes, page 289. Isis and Nephthys in association with a large ankh, a djed pillar and upraised arms (ropes). Note the middle groove on the pillar has the eyes of Horus -- a possible indication that ropes in this groove go up to the kite. The other grooves and other areas are colored black -- a possible indication that the ropes in these grooves are used for anchoring. Note also that the ankh is placed on the top of the pillar.

PICTURE, Oakes, page 291. Here the pillar shows two arms (ropes) going up from the middle groove on the pillar. The ankhs have rope threaded through them. A snake (rope) is shown above.

PICTURE, Oakes, page 409. Here the udjat, the eye of Horus is shown. The vertical line below the eye is the leg of Horus. The curved line to the back of the eye is the wing.

PICTURE, Oakes, page 454. Here we see many ankhs and was-scepters over the basket, a symbol of "all". Perhaps the basket held the rope.

PICTURE, Oakes, page 455. Here we see the importance and closeness of the ankh, the djed and the was-scepter.

PICTURE, Oakes, page 462. Here Maat protects Ptah. A close association is shown. The ankhs may indicate an attachment point of the ropes to the kite.

Kite Flying:

Kite flying requires four basic things: wind, a kite, a line, and a hold back point. A strong tension develops in the line that depends not only on the strength of the wind but also on the angle of attack of the kite. A kite flying at a low angle above the horizon will develop more tension force than a kite flying at a high angle. The kite will also experience wind gusts to a greater degree. The kite will also move unstably from side to side and often dive down to the ground.

The kite flying at a high angle above the horizon is more horizontal, more parallel to the wind and less susceptible to wind gusts. This high angle of attack contributes to more stable flight (and less lift). The attachment  point of the line to the kite is of paramount importance. Usually kites have a bridle line that allows the angle to be adjusted to the current winds.

The line up to the kite is subject to the wind forces and will be found to curve upward shallowly at first. When a heavy load is present on the line, it would leave the holdback point horizontally. As the line approaches the kite it becomes more vertical. As the overall line length increases, the line near the holdback point becomes more horizontal.

System Design:

The Winged Disk of Horus (the kite) has five lines: Seth, Horus, Osiris, Isis and Nephthys. One lightweight line (Seth, shown in black) goes directly to the center of the kite. This line is used to launch the kite and to keep it flying in position. The load lifting lines are the two heavy lines (Horus and Osiris, shown in red) that travel horizontally from the holdback point a short distance to the stone load and upward toward the kite.

The two lightweight control lines (Isis and Nephthys, shown in blue) are connected to the shen connections found on the kite at the feet of Horus and go downwind to the ground where they are held back and their length is adjusted as needed controlled.

Prior to stone liftoff, the kite flies at a high angle above the attached stone. To lift the stone, the two lightweight control lines downwind are tightened to pull the kite back and down. This increase in angle of attack increases the tension in the two heavy lifting ropes and the stone is lifted off the ground. Once the stone is off the ground it is moved and positioned laterally by moving the movable djed pillar -- the holdback point.

As the load lifting lines (brown colored in the illustration below) approach the stone load from the hold back point they enter the load snubber. They go down through the snubber, out, up around it, and back down through the middle. One rope goes down the center of the north face of the stone, across under the northeast corner and up along the center of the east face. The other line similarly goes down the center of the south face, across under the southwest corner and up along the center of the west face. From the stone they come back up through the snubber. The two lines then go up to connect to each wing of the kite.

Upwind the two heavy lifting lines (Horus and Osiris, shown in red) attach to the djed pillar (see illustration below). The ropes are two ends of the same rope that is twisted three times and looped over the center groove of the djed pillar. The top and bottom grooves of the djed pillar hold two other ropes that extend laterally (green colored in the illustration) perhaps one tenth of a mile. The lateral ropes loop around the pillar above and below the central groove. The pillar is rolled along (on a vertical axis) using manual ropes (purple colored in the illustration)  attached to the lower shaft of the pillar. The kite and the suspended stone move laterally as the djed pillar is moved. When the end of the lateral rope is reached, the downwind control lines (blue) are eased (as a sailor would say or let out) and the stone is set down.

The rope positions are then reset. The Seth line may be moved along the line of travel at any time while the stone is suspended. The load lines are of course sufficient to hold the kite in place. When the stone is sitting on the ground, the Seth line is used to hold the kite in position farther along the line of travel. The Seth rope is attached to the ground (Maat) in a different position farther ahead and not on, but upwind of the djed pillar. The lateral lines (or another set of lateral lines) that are forward along the line of desired movement are then attached to the pillar. The control lines are moved laterally while the stone is on the ground. The stone is then lifted again and the pillar is moved forward along the line of desired movement.

The was-scepter may be seen in the diagram as the kite, the down coming Horus line and the snubber. During lifting of a heavy stone, the Horus line between the kite and the stone snubber would be very vertical.

Conclusions:

Certain hieroglyphs are artistic representations of earlier tools. There probably are several tools that were used to move and place the megalithic stones used in the construction of the Great Pyramid. The associated hieroglyphs can be studied and understood to explain the construction techniques that were used. The ankh, the was-scepter and the djed pillar were tools used in the handling of ropes. Winged disks and other similar bird and eye symbols were kite designs that could lift the megalithic stones. The control of the ropes allowed the step-wise transport by air of the large stones. The color black indicated attachments of different types to a foundation on the earth. The color red represented the flying portions of the system. Anthropomorphic and zoomorphic representations of these tools and techniques were developed later, probably not by the engineers but by artists and philosophers.

Credits:

1. The Egyptians, Cyril Aldred, 1987, Thames and Hudson Ltd, London.

2. Ancient Egypt, Oakes And Gahlin, 2003, Barnes & Noble Books.

3. Dr. Maureen Clemmons, Annual Ancient Mysteries Conference, October 2004, Association of Research and Enlightenment, Virginia Beach VA. E-mail: mclemmons@trans4mations.com