Earth/matriX
Science in Ancient
Artwork Series
The Pyramids of Giza and Teotihuacan
By
Charles William Johnson
The pyramidal structures at Giza and Teotihuacan upon first
appearance reveal more differences than similarities. Yet, when
we graph the natural numbers (1689; 5121310) at right
angles to one another a basic design obtains that reminds us of
ancient symbols in artwork and architecture:
These basic designs correspond to the layout of the pyramids at Giza
and Teotihuacan (Cfr., Earth/matriX, essay N.82), revealing a possible
common denominator for both of these pyramidal sites. In fact, the basic
design obeys the layout of the crosssection of the Great Pyramid at Giza
(Cfr., Earth/matriX, Extract N.8). We shall offer here a summary
view of the coincidence of lines in the different designs.
The basic designs would appear to have a relevancy to the
hieroglyphs of ancient kemi
Note that these glyphs refer to building structures, like houses
or mansions, and may be found in similar forms in other cultures,
such as the maya (k'awil symbol), and in ancient China.
The basic designs, when overlaid upon the grid systems of Giza
and Teotihuacan, reveal a coincidence of lines that causes one to
consider such a design as having been possibly one similar to
that used in the layout of the pyramidal sites themselves. Not
only can one account for all of the principal pyramids, but even
all of the secondary pyramidal structures obey the basic design,
by forming relationships among themselves and in relationship to
the main pyramids. Nothing seems to fall outside the scope of the
basic design. If this were the case, then possibly, the ancients
understood the concept of the cube (powers), and made a
translation of these numbers into geometrical designs. In fact,
by considering the natural numbers to the cube, many distinctive
ancient designs become more comprehensible, As we shall see in
later essays, even the slanted stairways that do not seem to
coincide with the slope of the walls of the pyramids in some of
the maya pyramidal structures reveal a specific logic of design.
The graphing of the natural numbers to the cube produce
geometrical designs that many account for many of these ancient
designs that at first glance appear to be haphazard and
illogical.
Let us present a few of the overlays of the basic designs (1689;
5121310; etc.) regarding the grid systems of Giza and
Teotihuacan.
From these few illustrations, it becomes apparent that the design
of both pyramidal sites seems to obey a similar theoretical
concept underlying their layout. This similarity of concept
becomes even more visible when we compare both sites together and
with respect to multiple sets of designs.
From the previous illustrations one may observe how there appears
to be an inner logic to the layout of the pyramidal structures at
all levels at both of these sites. And, that these particular
designs appear to be more related than previously contemplated.
During this century it has been difficult for many archaeologists
to accept the possibility that the pyramidal structure may enjoy
a designed relationship to astronomical events in the sky.
However, the case may be that, not only are the pyramidal
structures placed in relation to events in the sky and the
Universe, but the internal layout of the grid system may reflect
more theoretical posits of a mathematical and geometrical nature.
For example, the numbers produced by the cube of the natural
numbers 1689, 16836, 5121310, etc., are relational and
relevant to historically significant numbers and the daycounts
employed by both of these ancient cultures.
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©19972011 Copyrighted by Charles William Johnson. All rights
reserved.
Earth/matriX, PO Box 231126, New Orleans, La. 701831126
Your comments and suggestions are greatly appreciated:
email: johnson@earthmatrix.com
Earth/matriX
Science in Ancient Artwork The Pyramids of Giza and Teotihuacan
Extract N.10
© 19972011 Copyrighted by Charles
William Johnson. All Rights Reserved
Earth/matriX,
P.O. Box 231126 New Orleans, LA 701831126; USA
Reproduction prohibited without written consent of the author.
