If color dosent matter then why is Black history being Whitewashed? Master of deception. Here is one Example: The Gods of Egypt a new movie starring an actor named Nikolaj Coster-Waldau who plays ancient African KMT God Horus, the Scottish actor from the movie 300, Gerard Butler plays African God Set, and an Australian actor named Geoffrey Rush is supposed to be ancient African God Ra.? This is called Whitewashing and the director is guilty. (THE VANISHING EVIDENCE OF CLASSICAL AFRICAN CIVILIZATIONS) METHODS OF DESTRUCTION AND ALTERATION My observations of the evidence are careful and are supported by photographic and video documentation. The extensive study of over a million artifacts and images gave me the keen power of observation to make analyses of the same materials that are also available to Egyptologists, although most of them have not studied the volume of the materials that I have examined. When the artifacts in question were examined meticulously, I found that the methods used to change or damage the images are varied, and they include: subtly altering the shape of the nose on statues by using some type of sanding device; adding on false noses; reshaping or completely destroying the face on temple and tomb walls; lightening the color of the face and body paint on statues and paintings; completely eliminating the paint on statues and paintings and thus making the images appear “white”; destroying the lower facial structure, particularly the chin and jaw area; putting in false bluish-gray inlaid eyes; plastering over temple images with White Portland Cement during ongoing “conservation” work; and creating outright forgeries! These acts of fraud and deliberate destruction is what I call the handiwork of modern conspirators. I was stunned by such an angry, vicious, and widespread attack against Black images by the enemies of Classical African Civilizations. MODERN FORGERIES One of the most absurd invention of the conspirators is the forged statues of Ra-Hotep and Nofret in the Cairo Museum. I present detailed and concrete evidence in my forthcoming book, Modern Fraud: The Forged Ancient Egyptian Statues of Ra-Hotep and Nofret (also see part 3 of this series on the Museum Evidence) that there is a list of specific artistic rules which are consistently applied to statue after statue throughout the pyramid age.[1] Although some writers would attempt to argue to the contrary, the fact that there was a body of specific artistic rules is demonstrated by the tens of thousands of statues and paintings that are presented in exactly the same way across various sites and cites throughout all of the major periods: the old, middle, and new kingdoms. Thus, these shocking forgeries make no artistic sense as they violate a long list of clearly defined rules, according to the ancient Egyptian rule system. Further, these fabricated European-looking statues do not make any cultural or historical sense, and it is consistent that they were found (or rather created by modern hands) during the 19th century, which has been called by some historians as “The Great Age of Fakes.” There is no doubt that the Ra-Hotep and Nofret forgeries stand completely outside of the ancient Egyptian artistic, cultural, and historical reality. One of the great forgeries of the 19th century which has already been proven is that of the famous Queen Tetisheri. The statue of “Queen Tetisheri” was purchased by the British Museum in 1890, and this fake piece (with its facial features resembling most Europeans) was paraded around the world until it was first suspected as a fraud in 1984. This fake Tetisheri statue was showcased in the British Museum special exhibit on forgeries in 1990, but not before this forgery fooled experts and deceived the world for 100 years! WHO ARE THE CONSPIRATORS? Who are the conspirators responsible for these acts of destruction, alteration and invention is a basic question that must be answered. Brian Fagan in his book on The Rape of Egypt (1975) documents a list of culprits: the Christian Copts who destroyed statues and monuments; the conquering Arabs who dismantled ancient buildings; and the 18th and 19th century European travelers, adventurers, and archeologists who were treasure hunters, plunderers, and looters. It was during the 19th century that a vast number of ancient Egyptian artifacts were excavated, but most of these discoveries were not adequately documented, with original on- site photographs and detailed field reports, which are now standard procedures within the archeological field. The systematic documentation of archaeological excavations did not develop until many years after volumes of artifacts were already taken from their original African sites and eventually placed in museums. Indeed, it is a sketchy record of how most of these artifacts were discovered and eventually made it onto museum floors. This brings us to the identification of a large group of conspirators, who are the handlers of the excavated artifacts. This group includes excavators, antiquities dealers, museum curators and directors, and restorers and conservationists. Somewhere between the original excavation of the artifacts, to their transport, sale and acquisition, storage, cleaning, conservation, and finally their display on the museum floor there has been a diligent effort at altering, reworking, and “touching up” the facial features of countless statues. The conspirators who perpetrate these acts are behind the scenes actors who use a hit and run strategy of defacement and alteration of the art. They hide their hands from public view, but the results of their fraudulent and destructive activity is plain to see by anyone who carefully examines the evidence, as their pattern of fraud is highly distinctive. The lack of original documentation of many excavated artifacts has made it easy for these conspirators to commit their fraud. It is well known that many great artifacts of ancient Egypt were destroyed by the hands of plunderers during the widespread looting and trading in antiquities that went on for centuries, but what is not well known is the full story of the artifacts that did survive the wave of plunderers and make it into modern museum collections. I show in Modern Fraud that a large number of these surviving artifacts have undergone a racial makeover at the hands of modern conspirators. The results of their fraudulent work are the countless altered artifacts, reworked pieces, fake genealogies, and a host of forged statues. The most recent revelation of the racist fabrications by this group of handlers, or more specifically Western museum directors, is reported in the current issue of Archaeology Magazine 54 (September-October 2001, p. 27). This report is associated with an article by Peter Lacovara et al. Archaeology reported that in the absence of scholarship the directors of the Niagara Falls Museum in Ontario, Canada “fabricated pedigrees” for many of their Egyptian mummies in the mid-nineteenth century. The most imaginative of these fake pedigrees, or false identities, was created for a bearded male mummy of the Roman period. The museum officials invented the following elaborate story for him which is a complete myth: “General Ossipumphnoferu the General in Chief of Thotmes III. ... He was a man of military skill, also a famous magician. He was 60 years old when he died. The scar on his forehead was caused by an enraged elephant while defending the king from his onslaughts. A palace was erected for the general near that of the king.” The museum officials took their scandalous activity even further, as for many years the “general” was displayed in the coffin of Iawttayesheret, a high- ranking woman from the 25th dynasty, which was 700 years before his time! It is incredible that the directors of a public museum would take an unidentified Roman period mummy, with a European facial appearance, put him in a woman’s coffin from 700 years earlier, and then create a bogus identity for him as a famous general during a period which was another 700 years earlier than the coffin he was buried in! Eventhough this mummy and other artifacts at the museum were not studied comprehensively by an Egyptologist, this is yet another case which documents that Western museum directors would go to any lengths in the 19th and early 20th century to falsify evidence. Currently, there is no doubt that this list of conspirators includes local Egyptian government workers, who are carrying out many acts of destruction on a regular basis. These men either work for the Egyptian government on “conservation” projects, or for various European or North American archeological teams. On several occasions in the 1980s and 1990s, these unsupervised minimally-skilled government workers have been caught on video tape plastering over temple images and inscriptions! In fact, it is impossible to visit the Karnak Temple in Luxor and not see the recent defacement, and it is suspicious that with rare exception Egyptologists are silent about this matter. WHAT ARE THEIR MOTIVES After examining a vast body of artifacts, it seems evident that the ultimate motives of these groups of conspirators from the 19th century to the present is to eliminate the Black images from the ancient Egyptian historical record. This motivation is consistent with the racist views of many of the 19th and early 20th century Egyptologists who made many ridiculous assertions about Black people having little to no role in ancient Egypt, and that this was a civilization founded by white or Semitic people from the North. These baseless claims were widespread within the ranks of Egyptologists, and they helped inspire both H. M. Herget’s 1941 National Geographic Magazine paintings of pale-skinned Egyptians and the imaginary white images created by Hollywood, which together have deceived the public for the past half century.[3] This nonsense was exposed in the 1950s by the late Senegalese scholar, Dr. Cheikh Anta Diop. Diop assembled an awesome body of evidence to document the Black foundation of ancient Egypt and to expose the dishonest discourse of Western Egyptologists who were, as he put it, “performing intellectual acrobatics” to avoid dealing with concrete evidence to support their contentions about the Northern origins of ancient Egyptian civilization.[4] The mainstream Egyptologist Bruce Trigger in The American Discovery of Ancient Egypt (1995) discusses Diop’s impact and that it is because of his work that ancient Egypt is now seen by mainstream scholars as an African nation. Trigger also comments that “the white racist rhetoric that permeated most early twentieth-century writings about the development of Egyptian civilization has long been abandoned, [but] ideas formulated at the time have continued to influence thinking about the origins and nature of Egyptian civilization.”[5] The “white racist rhetoric” that Trigger describes as permeating early twentieth century writings is simply a continuation of the same racist views held in the 19th century, and it is within this climate that the behind the scenes handlers had both the motives and the opportunity to deface images, alter facial features, and create racist forgeries. Read more here raceandhistory/manu/update.htm
Posted on: Mon, 24 Mar 2014 15:25:06 +0000
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