Monday, February 23, 2004

Cheops "Coffin" Lion Carving - LexiLine Journal 258

Cheops "Coffin" Lion Carving

To our Files on ancient Egypt at
we have added
the file

which presents a graphic analysis of the so-called "Coffin" in the
Cheops Pyramid - showing that the general talents of Egyptologists -
whatever they may be - do not necessarily extend to fine
observation, and that ALL of the academics, and the millions of lay
people who have marched blindly into the Cheops Pyramid over the
years or the countless millions who have observed the many photos of
what is called the "Coffin" of Cheops in that pyramid, have just not
look closely enough.

People want to be "awed" by the past but they do not want to
simply "look" and "learn". Authorities abound - but their
actual "knowledge" is in fact very limited. They put on a good show,
preferring talk and blather to vigorous and independent inquiry.

Observation - not academic "authority" is the foundation of all
science. We show this clearly here.

As cheopslion.png - my picture-analysis of the front of the
Cheops "Coffin" - shows, this is no coffin at all, as the
Egyptologists foolishly allege. Not only does it have no coffin top
now - but it never had such a top. Indeed, the allegedly "damaged"
corner of this coffin - SOLID GRANITE - which was allegedly damaged
by grave-robbers (so the gullible prevailing theory of the
mainstream of Egyptologists), is INTENTIONAL by the builders.

As we can see from my picture analysis of the main front side of
the "Coffin", the figure of a lion is faintly carved into the solid
granite and the allegedly "damaged" - actually sloping - corner is
in fact simply the marvelously sculpted curve of the back and tail
of the lion, and so intended by the original sculptors.

Hence, with such an intentional "open" gap in one corner, obviously,
this "coffin" was never intended as a coffin for the departed at
all. Perhaps it was cut this way in order to allow living persons
(i.e. the Pharaoh) to get into it more easily, as Napoleon modernly
and secretly did when he commanded Egypt, for whatever "effect" this
might have or have had on the living.

Burren County Cavan Ireland Draco - LexiLine Journal 257

Burren in County Cavan Ireland as Draco

To the Files on "Ancient Ireland" at

cavandrc.gif has been added

showing that this stone of a wedge-rock tomb in Burren, County
Cavan, Ancient Ireland, shows the stars of Draco.

The cupmarks are superb.

Barnes Lower Ireland County Donegal Ophiuchus Serpens Caput - 256 LexiLine Journal

Barnes Lower in Ireland County Donegal as Ophiuchus and Serpens Caput

To the LexiLine Files at "Ancient Ireland" at

barneslo.gif has been added

showing how two large stones at
Barnes Lower, County Donegal, Ancient Ireland

marked the stars of Ophiuchus and Serpens Caput.

This is a fabulous example of megalithic art which is NOT in the book
Stars Stones and Scholars

The larger of the two stones is fantastic in marking the many stars
of Ophiuchus in a clear manner. Take a look at these wonderful
stones, which themselves are also carved into the shapes correlating
with the groups of stars they represent. Of course, Barnes Lower
fits perfectly into the analysis of megalithic Ireland, as already

Sunday, February 15, 2004

Revised Decipherment of the Hieroglyphs - 255 LexiLine Journal

Revised Decipherment of the Egyptian Hieroglyphs Coming Soon

Shortly I will begin postings on my "Revised Decipherment of the
Egyptian Hieroglyphs". Obviously, the basic "decipherment" of the
Egyptian hieroglyphs was originally made by Champollion, but his
rudimentary work has been nearly blindly followed since by
Egyptologists. This blind following has not been correct and there
are substantial errors found and corrections to be made, showing the
most ancient Egyptian language, i.e. that of the Old Kingdom
Pharaohs who founded Egyptian civilization, to be Indo-European in

Champollion's Original Decipherment of the Egyptian Hieroglyphs
(helped by the pioneer work of Thomas Young)

We must recall that Champollion derived many of his decipherment
values for the hieroglyphs by making comparisons to the known
language of Coptic, which is viewed as a remnant of ancient
Pharaonic, 5000 years later. Hence, as an example of the kinds of
things I will be correcting, when Champollion set the value of one
of the hieroglyphs at "F" - based on similar words having "F" in
Coptic - this similarity does not mean that the value was
originally "F" in 3000 BC.

The example of "P PF and F" on the basis of High German and Wolynisch

We know from Europe, for example, that simple words such as Pepper
or Pipe changed as as we go south. "Pepper" goes to "Pfeffer" in
Germany and then to "Feffer" as we move southward, or "Pipe" goes
to "Pfeife" in Germany and to "Feife" southward. See here the
comparison of "high German" and "Wolynisch" at
for numerous such words, some of which are reproduced below:

High German (left) Wolynisch (right)

Pfahl [pfa:l] Fahl [fa:l] (cf. fahl)
Pfähle ["pfE:l@] Fähl [fe:l]/Fähle
pfählen ["pfE:l=n] fählen ["fe:l=n]
Pfau [pfaU] Fau [faU]
Pfeffer ["pfEf6] Feffer ["fEf6]
Pfeffermühlen ["pfEf6my:l=n] Feffermiehlen ["fEf6mi:l=n]
Pfeifer ["pfaIf6] Feifer ["faIf6]
pflücken ["pflYk=n] flicken ["flIk=n]
Pflug [pfu:k] Flug [flu:x]/Fluch [flu:x]
Pfund [pfUnt] Fund [fUnt]

Wolynisch is the language of the Germans who migrated to the Ukraine
starting ca. 1736 A.D. and who retained their language while "F"-
ifying the words beginning with "pf" in "high German", with many of
these same words beginning with "p" further north in Germany.
[See here for a
phonetic view of High German.]

Logically, what can happen to German in the space of 300 years - on
the evidence of Wolynisch - can certainly have happened - and DID
happen, as we shall allege, in Egypt as well in the space of
thousands of years. Champollions "F" is simply wrong for the most
ancient Egyptian hieroglyphs where it was closer to a PF and
definitely a V based on the Latvian evidence - for what in German is
PFAHL and Wolynisch FAHL is in Latvian a VĀLe "cudgel, club, post".

We will be showing that words alleged to be F-based in Egyptian
actually are V-based in Latvian, where they have an older meaning
from which we can derive the roots of the words.

That in any case, is one example of the types of changes we shall be
making to revise the decipherment of the hieroglyphs and make them
correct for the Old Kingdom - and what is more important - thereby
we will be showing the origin of the culture, which is not possible
based on the erroneous decipherment used in Egyptology today.

Basic Sources for the "Revised Decipherment" of the Egyptian
Hieroglyphs by Andis Kaulins

1. Jean-François Champollion, Précis du système hiéroglyphique",
Paris, France, 1824.
2. Rainer Hannig, Ägyptisches Wörterbuch I: Alter Reich und Erste
, Hannig Lexica 4, Kulturgeschichte der Antiken Welt,
Band 98, Verlag Philipp von Zabern, Mainz am Rhein, Germany (an
absolutely essential source since this is OLD Pharaonic).
3. Christiane Ziegler, "Das Geheimnis ist Gelüftet", pp. 81-109,
Pharaonen-Dämmerung, DNA, Strasbourg, originally published in
French as "Mémoires d'Egypte", Strasbourg, France.
4. Mark Collier and Bill Manley, How to Read Egyptian Hieroglyphs,
British Museum Press, London, England, 1998.
5. Maria Carmela Betrò, Heilige Zeichen, Gustav Lübbe Verlag,
Bergisch Gladbach, Germany, 1996 (originally published
in Italian in 1995 as Geroglifici. 580 Segni per Capire l'Antico
Egitto, Arnoldo Mondadori Editore S.p.A., Mailiand, and now also
available in English as "Hieroglyphics: The Writing of Ancient
", Abbeville Press, New York, 1996.
6. Gabriele Wenzel, Hieroglyphen: Schreiben und lesen wie die
, nymphenburger - F.A. Herbig, Munich, 2001.
7. Andis Kaulins, Writing Origins: Pharaohs, Moderns, Dyslexics,
online at

Expressly rejected for our analysis are all the prevailing and most
commonly used - and erroneous - sources for what is called "Middle
Egyptian Grammar". These are unsound and incorrect on their face for
an analysis of Old Kingdom Pharaonic language, dealing with a stage
of Egyptian already representing a kauderwelsch, or mixed bag, of
languages from which no sensible view of the original Pharaonic
language can be made, being confusingly combined with the Arabic and
other local languages of the region. Pharaonic, originally, had
absolutely nothing at all to do with the predecessors of Arabic,
i.e. Aramaic, Cannanite, etc. Rather, Pharaonic is related to
Sumerian and the Northwest Semitic Scripts, and these - as I have
alleged for years - are also Indo-European in origin.

Once we get the words right - then we can begin constituting the
grammar - not before. The linguists have the cart before the horse,
basing their grammars on an improper transliteration of terms.

We will start - fittingly I think - in a couple of days with the
Egyptian word for the "Goddess of Art of Writing" falsely
transliterated by the Egyptologists as
which has a comparable in the Latvian term
SACERĒT viz. SACERĒTI (that is also the correct Pharaonic
meaning "to write", especially in the sense of "to author, to
compose a writing, to think up that which is written, to put a
thought to paper".

This does not mean that the original Pharaonic Egyptian
was "Latvian" but that both languages share a common Indo-European
origin. Indeed, other similar terms in other Indo-European languages
will surely also be found, which would only be more evidence that
Pharaonic was Indo-European.

As I say, we will start with that term.

Sunday, February 08, 2004

South African Rock Drawings Far Older Than Thought - 254 LexiLine Journal

There is still a lot of work to be done on chronology in archaeology.

As written by the BBC in "New light shed on SA cave art" at

"A huge collection of rock paintings in South Africa is far older
than previously thought, research has found.... Archaeologists using
the latest radio-carbon dating technology found that the Ukhahlamba-
Drakensberg paintings are 3,000 years old."

Previously they were dated to ca. 1100 AD.

Martin Wainwright in a February 7, 2004 Guardian article

see or,13262,1143061,00.html

published in the Guardian as "Archaeologists shed new light on
African rock art"

writes that rock art in Ukhahlamba-Drakensberg in South Africa is at
least 2000 years older than previously believed, putting the date of
the art at ca. 1000 BC or earlier:

Wainwright writes:

"The dating breakthrough followed years of frustration over basic
carbon dating which required samples too big too remove without
destroying the paintings.
The new study pioneered a technical improvement which uses
accelerator mass spectrometry applied to salt samples taken from
painted rock without causing damage.
The dating breakthrough followed years of frustration over basic
carbon dating which required samples too big too remove without
destroying the paintings.
The new study pioneered a technical improvement which uses
accelerator mass spectrometry applied to salt samples taken from
painted rock without causing damage."

Just how accurate this method is remains to be seen - tests will
have to be calibrated with C-14 results worldwide - but there is no
doubt that the new method adds an important new element to the
determination of chronologies by scientific means.

This discovery of course meshes with our own research that rock art
in Africa dates clear back to at least ca. 3000 BC.

As noted at, Dr. Aron Mazel, Newcastle University,
School of Historical Studies, has stated:

"We are still in the early stages of exploiting this new technology
but it's possible further investigation could reveal that some of
the paintings could be even older than 3,000 years, especially as we
knew the San people first occupied the area 8,000 years ago."

As written at the Daily News at : or

"The San people, generally accepted as the first human inhabitants
of South Africa, were hunter-gatherers.
They are known to have been in the scenic Drakensberg area some
8,000 years ago, and their communities survived into the 19th

Of course, this does not necessarily mean that the San were the cave
painters. They may be, but this is no definite proof of that
conclusion. We will see.

see also The Zulu Kingdom at

Saturday, February 07, 2004

Panama Megalith Deciphered - 253 LexiLine Journal

As already noted in my previous posting,
the recently discovered Miami Circle is equally distant - on a
straight line - from both the Peterborough Petroglyphs in Canada and
the just found gigantic Panama Megalith. It appears that these
markers are the major Eastern triangulation points for the ancient
(ca. 3000 BC) survey of North America by the megalith builders.

There also appears to be a survey tie to Teotihuacan, as the
distance from Teotihuacan to the Miami Circle is the same (ca. 2050
km) as from the Miami Circle to the Peterborough Petroglyphs and
from the Miami Circle to the Panama Megalith - I measure this as
2050 km each way using the distance-finding software program
Geothek. From Teotihuacan to the Petroglyphs the distance is 3400
km. From Teotihuacan to the Panama Megalith it is 2500 km. This
survey of North America was just one part of a larger survey of the
world by the megalith builders.

In my book, Stars Stones and Scholars

the Peterborough Petroglyphs in Canada are deciphered as a
planisphere marking the center of heaven - as is now clear, this was
the North Ecliptic Pole.

Similarly, the Miami Circle is deciphered in that book as a
planisphere marking approximately in the region of the star nu-Hydra
at the Summer Solstice ca. 3117 BC.

It thus seemed probable that the giant Panama Megalith just found
this last week in Panama would fit in with this survey system.

It has in fact been possible for me to decipher the figures and
cupmarks on the Panama Megalith, showing that these figures and
cupmarks mark the South Ecliptic Pole and thus constitute
the "southern geographic survey border" for the survey of North
America. South America begins just below this point of the SE end of
the Isthmus of Panama.

Since the ancients used the stars to survey the Earth, the figures
carved on megaliths mark stars, constellations or asterisms. We find
that the head of the lizard-figure on the Panama Megalith marks the
top of the group of stars modernly known as Dorado. The head of
Dorado points directly to the South Ecliptic Pole.

Also marked on the Panama Megalith appears to be a relief next to it
on the left - the shape is marked by heavy moss on the megalith as
shown on the photograph of the stone - and we think this could be
the human-head-shaped Large Magellanic Cloud (LMC), but this must
remain speculative until the moss is removed and surface studied.
The numerous three-cupped cupmark groups on the Panama Megalith mark
the stars around LMC and also further to its right mark the stars of
what we today know as the constellation Reticulum.

I have uploaded the decipherment as


to our LexiLine files in the file "North America - USA Canada" at

Friday, February 06, 2004

Panama Megalith with Rock Art Found - 252 LexiLine Journal

BBC NEWS carries a February 2, 2004 story at
"Rock discovery causes excitement"

about a large megalith covered with rock drawings just found in
Panama by Julian Chenoweth of Cornwall, England. The megalith is
dated to ca. 3000 BC, weighs 30 tons and is ca. 17 feet (5.18
metres) high. The linked page at BBC has a photo of the rock,
showing a large lizard, and - as I have found - cup-like marks
similar to those found at the site of the Peterborough Petroglyphs
in Canada. Other figures are possible, but hard to tell from the

The archaeologist, Julian Chenoweth of St. Mawes, who works with the
Scientific Exploration Society see
is quoted as saying:

"I believe the rock is a ceremonial place or a boundary marker for a
tribe's territory."

The presence of this megalithic rock in such a faraway place as
Panama fits in with my theory in Stars, Stones and Scholars

where I claim that an ancient survey of the earth by the megalithic
peoples was conducted ca. 3000 BC, whereby the megaliths in fact
served as boundary markers for ancient man and were "sighted in" by
astronomy, a record whereof which was inscribed on the stones.

In fact, we can explain why this rock is exactly where it is. This
area of Darien, Panama, near the Pacific Coast of Panama toward the
far SE side of Panama, near the river Sambu, is the same distance
from the Miami Circle in Miami, Florida, as the Miami Circle is from
the Peterborough Petroglyphs in Canada - ALL ON THE SAME DIRECT
LINE. The Peterborough Petroglyphs are roughly at 44 degrees north,
Miami Beach is at ca. 26 degrees north and the Panama Rock is at
approximately 8 degrees north - this is a distance of roughly 2000
km which fits in with the distances used for survey in North America
in 3000 BC, according to my book. Additionally the Panama Rock
potentially forms a triangulation with the Miami Circle and
Teotihuacan, at ca. 20 degrees north. In other words, the Panama
Rock is a major cornerstone of the survey of North America ca. 3000
BC by the megalithic peoples.

Wednesday, February 04, 2004

Don Quixote and the Hieroglyphs - 251 LexiLine Journal

In advance of my presentations on the Egyptian Hieroglyphs, we might
call the material below "A Literary Lesson for Mainstream

Miguel de Cervantes Saavedra wrote The Ingenious Gentleman Don
Quixote (translation by Samuel Putnam, Viking Press, New York,
1949), which is regarded by numerous literary critics to be the
first "modern" novel. Don Quixote is also ranked by many as the
world's greatest novel and we quote from it as follows:

"[S]aid Don Quixote: 'He is a wise enchanter, a great enemy of mine,
who has a grudge against me because he knows by his arts and
learning that in the course of time I am to fight in single combat
with a knight whom he favors, and that I am to be the victor and he
can do nothing to prevent it. For this reason he seeks to cause me
all the trouble that he can, but I am warning him that it will be
hard to gainsay or shun that which Heaven has ordained.'

'Who could doubt that it is so?' said the niece. 'But tell me,
uncle, who is responsible for your being involved in these quarrels?
Would it not be better to remain peacefully here at home and not go
roaming through the world in search of better bread than is made
from wheat, without taking into consideration that many who go for
wool come back shorn?'

'My dear niece,' replied Don Quixote, 'how little you understand of
these matters! Before they shear me, I will have plucked and
stripped the beards of any who dare to touch the tip of a single
hair of mine.'" p. 60

[somewhat later, fighting the windmills, p. 63]
'Do not seek to flee, cowards and vile creatures that you are, for
it is but a single knight with whom you have to deal!'...
'Though you flourish as many arms as did the giant
still shall have to answer to me.'

I shall shortly begin publishing - very slowly and deliberately - by
individual signs and words - my analysis of the Egyptian Hieroglyphs
from my standpoint that Old Kingdom Pharaonic Egyptian language was
Indo-European in foundation.

In doing so, I will make liberal use of Latvian comparables because
Latvian is a very archaic language - indeed, together with
Lithuanian, these Baltic tongues are the most archaic still spoken
Indo-European languages, thus reflecting Indo-European as it was
spoken throughout Europe and parts of Eurasia many thousands of
years ago.

Other ancient Indo-European languages could and can be used for this
comparison, e.g. Lu(t)wian [Latvian] Hittite. Of course, language
comparisons to ancient Pharaonic Egyptian language in other more
modern Indo-European languages will also be found - which will only
serve to prove that Pharaonic Egyptian has an Indo-European stratum,
especially in the Old Kingdom.

We use Latvian because we know the language well and because it is a
very good language tool for this kind of work. Most Egyptologists
are hampered by the fact that their basis of language is Western -
hence, when they find a language such as Pharaonic Egyptian, which,
for example has no definite or indefinite articles, they find this
unusual, without recognizing that Latvian, for example, an archaic
but still nevertheless Indo-European language, also has no definite
or indefinite articles.

This analysis will be published to the LexiLine List in text form -
indeed, the first publication will always be made to the LexiLine
group at Yahoo....


Tauta is a Latvian word meaning "folk, people" (whence
Egypt's Pharaonic Thoth - the inventor of writing and god of
knowledge - i.e. "the people" invented writing and knowledge, not a
particular person) . Thoth was originally depicted in Egyptian
hieroglyphs as the IBIS which in Latvian as the exact same bird is
called TITILBIS i.e. TITH-ILBIS. This bird was used as the symbol
for THOTH and IBIS because its name TIT-ILBIS was homophonic - the
same sounding - as the words being hieroglyphed.

I posted on this subject to sci.archaeology
on January 31, 1997 as follows:

The Pharaonic Egyptian word for bird IBIS (from the Greek IBIS) is
transcribed by the Egyptologists as IB-. So, fine and good.

But why is the Egyptian God THOTH (both the moon as well as the
inventor of writing and the arts) represented by the bird IBIS on
hieroglyphs, a usage which is as phonologically mysterious as it is illogical. Why

The Latvian gives us a very clear explanation as to why this is so.

The Latvian word for an IBIS-like bird is T I T I L B I S. TITILBIS
is a term which applies to a bird having long legs, and especially
those which wade in waters and on shores (it is even used to apply
to people with long legs).

If we presume that the Pharaonic Egyptians had a similar a term
which they originally applied to Thoth, then the mystery is

When we thus want to know why the God THOTH as inventor of writing
and the arts was represented by the bird IBIS then we see that this
is because the original term is the Latvian T I T - I L B I S. I
think it was used as the nearest concrete word to Latvian TAUTIBA or
TAUTIBAS "nation, folk, people", who according to Pharaonic legend,
as THOTH, Latvian TAUTA "folk, people" were the inventors of writing
and the arts.

If we want to know why the T I T I L B I S was applied to the moon
THOTH, then we must know that the Latvians also called the moon
TETIS or TETITIS in the ancient Latvian Dainas (a three-T variation
is also found in the hieroglyphs), a term also set equivalent
to "father" - but also applied to male birds.

Hence, T I T I L B I S was the closest term having a representable
concrete object similar in sound phonology to the concepts to be
represented by hieroglyphs (i.e. TAUT- "folk" and TET- "father".)
Essentially, we can regard the problem as the same as representing
the English word DAD for father with a hieroglyph of a similar
sound - what concrete object would you use in English? Very tough.

At some time the initial T I T - of I L B I S was dropped and the
bird came to be known as the I(L)BIS.

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