In the latter years of the 20th century, the secretive American Central Intelligence Agency (CIA) arranged for certain archaeological excavations to be conducted on the Giza plateau and at other ancient sites in Egypt; these projects were paid for directly by the agency. It is not clear whether the Egyptian government was fully aware of the venture and approved of the reasons why the CIA should have an interest in such an unlikely project, or if key government officials were simply paid to look the other way. Be that as it may, the real puzzle is what would an organisation like the CIA, whose official remit is a mixture of disinformation, intelligence gathering and political subversion, possibly be looking for in the sands below ancient monuments? However, prior to the CIA backed endeavour some curious and anachronistic glyphs were discovered in the ancient Egyptian temple at Abydos near the village of El Araba el Madfuna. The temple dates from around 3150 BC, and the area, which is sacred to Osiris, the god of life, death and fertility, was a significant location for those who believed in the afterlife, in fact the ancient Egyptians thought that at sunset the area looked like a golden staircase leading to the afterlife. In other words, a place where they could move, either figuratively or literally, from this world to another and the significance of Osiris, who was the husband and brother of the goddess, Isis, and the father of Horus, will be revealed shortly.
The Abydos glyphs, which are carved on a small, otherwise unremarkable section of stone, appear to depict among other things an Apache Longbow attack helicopter, two separate, small, fixed wing aircraft, one of which has the appearance of some kind of spacecraft, what looks like a battle tank, and a number of other objects and symbols. Some of the other glyphs on the stone are more or less standard hieroglyphs and have been deciphered and, as we shall see, their message lends considerable credence to a modern interpretation on the meaning of what is depicted here. The question is how did these images come to be carved in stone, who carved them, why were they carved and what did they use as models? The next logical questions are; (A) was the CIA looking for any sign of what is depicted in the carvings, which would make sense because their importance is self-evident? And (B) could this have been based on information originating from the former top secret Stargate Project, which concerned the use of ‘remote viewers’ to locate people, places and objects of interest to covert organisations like the CIA?
Of course there are sensible, safe, standard answers concerning the anomalous images, for example they are, according to received wisdom, only a ‘palimpsest’ or the accidental result of the original carvings crumbling then being patched with a type of plaster and carved again. The original use of palimpsests in ancient times was the reuse of scarce writing materials by removing the original lettering or graphics from a papyrus or animal skin and drawing or writing over the top. Perhaps they were, but in this instance why did the final product end up looking like modern fighting machines and why are there four of them grouped together on one carving? Ah, we are told, a coincidence and nothing more, so let’s see if there are any more anomalies, this time in the translation of the glyphs. One such translation states that the original carving said, ‘Who repulses the Nine Bows’, which was later replaced with, ‘Who protects Egypt and overthrows the Nine countries’, (my emphasis).
Both of these translations, while acceptable, have to be considered with a further variant four word translation of, ‘Who repulses the Nine, (my emphasis). All of these translations repeatedly mention the number nine and as we shall see, coupled with depictions of cutting edge combat vehicles appear to indicate, and perhaps validate, information from another and surprising source. The scenario so far resonates powerfully with the plot of ‘Stargate’, a successful 1994 science fiction film directed by Roland Emmerich, and its long running TV spin off, ‘Stargate SG1’. Most people who have seen the film or the TV series will be aware that it concerns the discovery of an ancient alien artefact below the sands of Egypt, a device that transported its users to any point in the galaxy that contained another such machine which would transport them, depending on the destination co-ordinates entered, back to their starting point. The recovered portal which, in the film, is secreted away deep in the Cheyenne Mountain stronghold of the US military, uses, among other things, a vertical, circular sheet of water to represent the interface between Earth space-time and what lies at the other end of the wormhole through which, presumably, our heroes travel. From our perspective in the real world the major stumbling block is a viable method of crossing the void of space and time, but strangely enough the method depicted on the screen perhaps inadvertently reveals more than it at first appears.
Is the use of water just a convenient graphic device used by the special effects technicians employed on the set to represent an as yet unknown branch of theoretical physics, or is it something rather more subtle? We should remember that water was a traditional medium used to cross the gulf between life and death and in bygone times this was depicted by the hooded boatman, Charon, conveying the souls of the dead across the River Styx to the afterlife. Water was also frequently used to convey people seeking answers from various oracles along underground tunnels to a meeting with the person who, like a type of shaman, channelled the required information. This is yet another strange and synchronous link to what we will eventually discuss. There are also biblical descriptions of water when talking about the creation of the universe as in, ‘upon the face of the deep’, although this may also refer to the infinite void of the cosmos.
Brian Allan:
The Shifting Sands of Time
Extraterrestrials, Time Travel and the Mythology of Ancient Egypt
© Brian Allan 2008
Any thoughts expressed in guest articles are the writer's personal views - unless otherwise stated, or implied. All links and articles are provided for your personal consideration and do not indicate Ellis Taylor's agreement with, or support for, all of the material they present.
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