Cryptographic Art: The Sine Wave in Ancient Context

by Amish Shah August 13, 2015

Cryptographic Art: The Sine Wave in Ancient Context


As the Earth rotates on it’s axis, the Equator remains aligned, but the line of ancient sites describes a sine wave as a result of it’s tilt relative to the Equator. The line of the ecliptic may be observed describing a similar wave by spinning a globe that has a line of the ecliptic. The wave may also be visualized by drawing the line of ancient sites on a flat projection of the Earth.

The wavelength is equal to the circumference of the Earth. The amplitude of this wave, measured from the middle of the wave (the equator), is 30° of latitude. Recall that the 30th parallels are ½ of the height of each hemisphere, or ½ of the radius of the Earth.

Many ancient civilizations provided evidence they knew precisely how to create realistic statues and art. So why did some choose to purposely distort their art with what appears to be unrealistic scenes? Graham Hancock considers that maybe there’s a scientific formula embedded within these different scenes. Just as Leonardo da Vinci was said to have hidden codes within his work maybe the ancient people used the same method. Only to them it wasn’t a code but a common knowledge that was easy for them to understand. Could this be how they passed along their knowledge much the same way we use text books and websites today?

30th parallels

The meticulous measuring of the Giza complex by Petrie, Smyth and others, has illuminated the extent of the geometry at Giza, but there is a simple geometry behind the Giza layout which returns us again and again to 30.

It can be seen that the 8 x 8 grid used for the layout of the Giza pyramids (above, left) simultaneously reveals the 5:8 ratio between the corners of the three pyramids (which are aligned to Heliopolis), otherwise known as the ‘sacred mean’, and a symbolically relevant geometric figure. and including sufficient geometry to create 12 equal divisions of 30°, as seen both between pyramids and in the actual location of Giza (on the 30th parallel).

the grand circle

Just as every point along the equator is 6,215 miles from both the North and South Poles, every point along this circle of ancient sites is 6,215 miles from two axis points on Earth.

The axis point in the Northern Hemisphere, shown here in the center, is near the Southeastern coast of Alaska, at 59° 42′ N 139° 17′ W, 25 miles Northeast of Yakutat.

Many ancient sites such as the Ziggurut of Ur, the Pyramids of Giza, and the cities of Petra and Persepolis lie along this ‘grand circle’

Music in Geometry

…We are apparently able to tune in our attention at specific proportional frequencies something like a strobe light freezing dancers in motion in order to recognize coherent paths through harmonic interference. Following this hypothesis, cognition of spatial scales and melodies must be a function of how fast we sample a standing wave. Temporal coherence in music based on sample frequency is therefore required prior to the recognition of spatial harmonic geometry. Since recognition of Φ and the Fibonacci scales has been determined to be the source of temporal coherence, then harmonic damping is a prerequisite for spatial coherence and formation of harmonic structures. Simply put – time before space.

Angkor Wat is said to be the largest religious temple in the world. It may be true legends hold a key to the explanation of the endless scenes on its walls but what if important parts of the story were lost in time? From the beginning it was easy for me to recognize “The Churning of the Milky Ocean” is of high sophistication and importance. At the top of the scene female figures appear to be dancing or maybe flying through the air. When tracing a line from one figures head to the next the entire layout is in a wave pattern as seen above. If the direction the figures are moving is an indication of which way the waves are traveling they would be moving from the center out just as described in the Mayan scene. I see this repeated in many other cultures as well which indicate it’s of a global interest.

On a larger scale when observing the entire layout I see a description of something far more advanced. This scene can be used as a calendar but also seems to describe the different forces that pull the Earth through its orbit.

These images are just a few of the numerous examples Graham Hancock has noticed that depict wave patterns within ancient scenes.

Could they hold the key to a lost science or could they simply be religious and tell stories of gods? One thing is for certain. The ancient people, no matter where they resided, all seem to have certain aspects which can be compared to one another. There are simply too many coincidences.

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Amish Shah
Amish Shah




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