Megalithic Marvels - Mohamed Ibrahim: Egypt's Ancient Origins (part II)

Episode Date: January 30, 2023

Derek Olson here to reconstruct the prehistoric past with you! In this episode I feature part two of a new interview with Egyptologist, tour guide, author and researcher Mohamed Ibrahim regarding Egypt's truly ancient origins that go back much further than we've been led to believe. You are not going to want to miss this episode. SHOW NOTES Egypt Tour Follow Megalithic Marvels on the following platforms: Instagram - https://www.instagram.com/megalithicm... Blog - https://megalithicmarvels.com/ Youtube https://www.youtube.com/channel/UCpiP... Facebook page - https://www.facebook.com/megalithicma... TikTok - https://www.tiktok.com/@megalithicmarvels Facebook group - https://www.facebook.com/groups/10186... Twitter - https://twitter.com/MegMarvels

Well, I'm excited to be joined by Muhammad Ibrahim, a native Egyptian who grew up in the shadows of the pyramids. He's also a renowned Egyptologist, a soon-to-be author, and a famous tour guide who's actually going to be hosting our megalithic marvels of Egypt tour this May. Muhammad, thank you so much for joining me today. You're welcome, Dean. It's always a pleasure to join your show. Isn't there also pottery and vessels that actually show what looks like Pyryrgy. pyramids, again, that are come from people that were supposed to exist before the pyramids? Exactly. We have what we call it Nakada, Pottery. Nakada is a culture between 5,000 and 3,000.

And it has like three phases, Nakada 1, Nakada 2, Nakada 3. Nakada is north of Luxor, existed in an area not far from Luxor. And till now, the funny thing that till now, this area is famous was buttery jars. The finest pottery you can buy from Egypt is from Nakada. And there are hundreds of jars, not just one or two or ten, hundreds of vases and then jar vessels, buttery vessels, are showing series of pyramids, but yes, they are not triangular. because I was in this debate many times with different groups.

The first group was saying, these are mountains. Like so many of these jars, we can see crocodiles, hippopotamus, ostrich, okay, and, by the way, sometimes giraffes. So they claim that the ancient Egyptian, that the Nakada person saw the surroundings of his environment, So these animals, so trees, so he made this art. His art was based on what he was viewing. I say, okay, giraffe here is a big question. They supposed to not see any giraffes because giraffes used to live in Egypt when Egypt was Greenland. That stopped before 9,000 BC.

Okay? Also, hepers are far away. Yes, they used to exist in Egypt, but at the southern borders. borders. But my point is that they claim that these triangle shapes are mountains. Egypt is flat surface. Yes, we have series of mountains, but the Red Sea on the very far east of Egypt and in Sinai. And we talk about a man from Nakada, from South Egypt, no such mountains. We have high grounds or what we can call it mountains but with flat top okay you never see pointed top to these mountains it's like very high ground sometimes 700 meters above the ground but all have

flat top it's like that's why we call it the mild valley high desert in both sides and the low level of the valley in the middle but we don't have these pointed uh shape The second group saying these are geometrical shapes. It's just about he is the man who made this loft the shape of the triangle and he kept doing triangles. Okay. That is like can be considered but why the man didn't make lots of circles and squares and other geometric shapes. So it is very clear to me that these. these triangle shapes are pyramids.

Not only these pottery jars, but there is at the Nubian Museum, we have an ostrich egg. And you know that ostrich is a fragile object. So it is not easy for someone to draw something on ostrich egg, unless that's something very important from his point of view or his point of view. So in that ostrich egg, you see representation of three triangles, three pyramids,

and some kind of wavy line on the right side of these triangles. So if you look to the map of Egypt, you will find the Nile, okay, on the right side of the three pyramids of these. So another clear evidence that this egg also dated to or attributable. to Nakada time, the man who made this drawing on that fragile object was leaving this picture or evidence for us about the existence of these pyramids before the forced domestic. That's so fascinating to me that we've got these clues of whether it's the stone vessel's vases or these pictures on these pottery. I want to talk to you now about megalithic statues. You referenced it earlier.

This to me was one of the greatest surprises from our last tour was when you took us to the Ramazium, which is this huge site down near Luxor. And it's dedicated to the great Ramsey's the second, right, of the 19th dynasty. So he's one of these pre-dynastic Egyptians we're talking about to get the credit for building all this stuff. And this is a huge site.

you see all the sandstone walls and pillars made in sections and the Ramsey statues made in sections. But then you took us around the corner and you said, look at that. And there is this, it's badly damaged with a remnants of a 1,000 ton statue made from a single piece of granite. The detail is so exquisite. that you can see muscle tone on the, you know, pieces of the body. And so you basically made the case to us. Those statues there clearly were made by somebody different than this megalithic 1,000-ton statue.

So talk to us a little bit about the megalithic statues of Egypt. And again, if you're watching by video, you're going to see the photos I'm going to add here. that show the precision of these statues, but in short, Muhammad, do you believe that these statues actually depict the pre-dynastic rulers of Egypt? Ah, exactly. Look, you made great point. It's very clear. When you visit these temples, you're going to see two things. You're going to see what I call it, the dynastic work, dynastic great work, if I can call it this way. And you will see what I call it the dynastic, the impossible work for dynasties.

The two examples are in front of each other. So many people got confused when they see both of them because they don't understand the story. The first group of these people, they think everything supposed to be done, everything huge, supposed to be done by advanced technology. The second group is saying, no, everything was done by primitive technology, but lots of talent and patient. Okay, both groups are wrong. I say the first group who is attributing everything to high technology.

No, we shall not underestimate dynastas. They developed. When we talk about the 19th dynasty, we talk about development for more than 2,000 years. If we compare between Dynasty 1 and Dynasty 19, we talk about almost 2,000 years. So they must have been developed in a great way. Techniques and talent, knowledge about the stones, how to hack the stone, how to cut, how to shape, what kind of tools, even if we talk about primitive tools. Okay.

When the second group, underestimating everything and saying, no, everything was done by talent, no, there are challenges cannot be covered or overcome with talent. No, it must be a precise, advanced tool, especially when we talk about granite. Look, we can talk much about limestone

things, okay? You will find me easy when I talk about it and I will not take any strong action or like, let's say, strong opinion, okay, because limestone is not such hard material and it can be shaped, okay, although I still don't agree that they can cut giant pieces of limestone like we see at the valley timbre of the second pyramid at Giza. Also, these blocks must have been cut by high technology. Okay. But let's say that any kind of life size statue or even bigger from limestone or sandstone, it can be done. Maybe quartzite. Okay. But when we talk about granite, when you talk about alabaster, no, that is completely different story. Granite on Mohs scale, M-O-H-S scale of solidness, it's six and seven.

Okay, so we need a kind of a tool to go through this hard material. So if we talk about copper chisel, that is insane, okay? And many people are saying it is impossible to cut granite with copper. No, it is not impossible, by the way. There are some techniques can lead to this. But this is a lifetime work. If you try to use these materials, bronze, copper, even iron, by the way, okay, we talk about massive size of stone. We talk about 500 ton, 700 ton, 1,000 tons.

But not just the size. We talk about also precision. We talk about perfect symmetrical statue or obelible. Okay, as if they ask the workers to make impossible work. If you look to the obelisk and you measure, if you like create a central line from the top to the base, the right side is exactly the same shape of the left side. Although that the obelisk starts as wide base and it tappers to the top. And it leads to more hard work.

okay, the details of the statues, the face, the nose, the lips, inside the ear. And I hope you remember the statue we saw at the hotel. There was a modern artist did some nice carving, and he was selling these carvings. So we saw one of the statues, and we looked to the ear. He made the ear in a very poor style. And I'm not saying he was bad artist, no, it was a very good artist, but that is the maximum of the tool, the maximum effect of the tool he is using. There is no other tool can do something like the ancient Egyptian statues. So when you compare between the ear of a statue was made in modern days and the ear of a statue was made in ancient days, completely different shape.

The high quality exists on that ancient head or ancient ear. So not only high technology, but what I call it, funny and interesting thing in the same time, that there was also nanotechnology. We are not only talking about big machines, big blades, but we are also talking about small drills, like the dentist drill, small disk, blades, okay, in order to show the details, the tiny details of the inner sides of the eye,

of the ear, the nose, the lips, okay, and when it comes to showing that the muscles of the chest and the arms, the legs, there is a statue at the Egyptian Museum of Cairo, the old one, statue for a person called a monhotib son of Habu. You look to perfect statue was all the anatomists, all the details of the muscles, even the knee and the toes, the abdomen, the shoulders, they were shown in great way. So in a big scale or a small scale. So no way to claim that these statues were made by primitive tools, that that is unfair.

As if we are saying that the ancient Egyptians had magical solutions. And we talk not only about a certain era, but you will find this great work of granite object. started from the early beginning of the Egyptian civilization till the end. And I'm saying this because they attribute all these objects to dynastical. So we'll find some work attributed to the first dynasty, second, third, fourths, to dynasty 12, 10, and 11, dynasty 18, 19s, which is not correct. because later I can show you some other examples. I'm very sure that it was made by dynastic Egyptians.

And it was made in a very good way. And I can call it high quality, but still not super quality. You can see that it was made by great talent. But when it comes to tiny details, they make it quickly. They make it like as if, like, again, I will go back to that statue. of son of Habu. When you look to between the toes, you will see each two is like 3D model.

They cut all the way down. But when you see another statue next to that statue called the Statue of Francis II, they slightly made that level deeper because they were afraid of breaking the two. Why? Because the first group, the people who made the first statue, they had the efficient tool.

The other group, they had hammers and chisels. And that's why they were afraid to break the tool. So they make it as if they give us the idea that this is the shape of the tool. Okay, so that is a clear example to compare between the two styles. Incredible. Yeah, I'm glad you bring up the geology. again, if the dynastic Egyptians had copper chisels and hammers, which the archaeological record says they did, how would they precision craft harder material granite, which is like a six or seven on the most scale

with material that's a three or four on the most scale in copper? So another question about, it's mind-blowing to me that, again, you go to Egypt, you see these megalithic precision statues. The 1,000 ton statue at the Ramazim, you can see part of its headdress. So these original, original ancient Egyptians had this look. You know, with the headdresses, the point is the dynastic Egyptians, eons later are trying to look like them with still wearing the Pharaoh headdress type look. And then I wanted to ask you, that 1,000 ton statue,

these what I call deep embedded 3D precision symbols on its shoulders. And then at the base of that statue, there was these symbols that look literally like they were laser cut almost into granite, precision. And you read what it said to us. I think it was said, you know, Ramsey's son of the sun, chosen by the sun. My question is, is that, are these deep embedded symbols actually part of the original language

of these megalithic builders? And did the Egyptians of the dynastic Egyptians take those and incorporate them into their modern language? Yes. Look, of course, these statues, we understand for sure

that they belong to the previous civilization, advanced civilization. They had that shape of what we call it the Shindit, the headdress. No, no, sorry, the nemes, the headdress, and the Shindit is the skirt, okay, and the position of the standing statue and some of the very high quality writings. So yes, they wanted to look like their ancestors. Like we do as modern Arabs now, you will find that the traditional Arab dress or one of the shapes of the traditional Arab dress is what we call it the Galapia. Yes, there are different styles, but we still do like them. That Galapia, I think it started like at least 3,000 years ago in the Saudi or in the Arab land.

So this is a way also to understand that the advanced Egyptian civilization, and according to many sources, and I believe, and I agree with this story, that the latest advanced civilization was destroyed at 10,500 BC by this solar disaster. But there was many survivors, and those survivors managed to live under the ground. And when the effect of the disaster ended, and Earth was okay to live on the surface again, and they started to move out of the caves, they wanted to, or they had memories. They had some information, not from themselves, from their parents or grandparents, about the shape of the life before the disaster. So they wanted to copy or to imitate the style, especially when they saw some of these statues and maybe some of the carvings.

So the spoken language was the same, and then the written language was made according to some of these embedded carvings. Because you will see on some granite blocks, as you mentioned, Some of the ancient Egyptian writings were made in super quality. So no way again to claim that it was made by hand tools. No. When you touch it, you'll find the very fine, smoothed edges, surfaces, which is no way to be done by hammers and chisels.

Okay. So yes, the dynastic Egyptians and maybe the pre-dynastic before them wanted to act like the advanced ancestors. One last question for you. So, you know, Chris Dunn and many others believe that the Great Pyramid must have originally been built to provide a highly technical society with energy. And then the last time when we were talking, you shared how you believe the pyramids were somehow able to collect cosmic waves. And that so when the dynastic Egyptians of 3,000 BC show up, they're repurposing these pyramids, right? And I think you said that these pharaohs understood that the pyramid was like this ancient energy generator amongst many other functions.

That's why they wanted to be buried inside of them to receive the energy into what they thought crossed through portals. Can you tell us a little bit about your thoughts on the pyramids being energy devices and then the pharaohs coming along and repurposing them? Yes, I always use this example, which is not mine. It is an example of one of my friends. He's an electric engineer. He was talking about the same subject and he gave this example. He said, imagine any of these famous dams, water dams around the world, like the high dam in Egypt as an example. If you visit the high dam in Egypt now, if you just walk above the dam,

it is like a bridge. But if you go inside the dam, you will see huge machines, hydraulic machines producing energy. What if after 10,000 years, you come and visit the high dam and all these machines disappeared? Just empty dam was built from concrete and granite blocks, by the way, there are so much granite on that dam. Okay. No way to convince you that this like solid bridge or water dam, one day was producing energy because there is no single machine or metal or why, because after 10,000 years, everything disappeared and eroded. Okay. The same thing with the permits. the permit is empty because all the devices disappeared.

Not only the Great Permit, but all the other sites in Egypt. And then when it was reused, and that new function is the latest function, and all the people in their memories still keep this idea. So by time, this function started to start. stuck with the site and people started to say this is the only function because there is nothing else is giving different opinion unless you start studying the shape and the design. Okay. If it is a two, why three rules? Why one under the ground, one in the middle, one in the last one-third of the permit. Because this is not a small design. Each one needs great work.

So it is not easy for the king to come and say, no, I don't like this. Give me a different design. Now, it's not a modern building. They can change the design. No. Number two, when they made sure that this building was built in a certain place. And that will lead us to the story of Orion Pelt again. I was telling all my groups that the location of the second pyramid in the opinion of or from the construction point of view is a big mistake. Any company of construction will never choose the location of the second pyramid because of the ground, sloping angle. So it is completely wrong place. they must move a little bit to the west side when it is flat ground. But because the location is important and it is pointing to one of the stars,

okay, to complete the shape of the alignment, it was a must to be built at that place. So that is a second great challenge, maybe bigger challenge than building the pyramid itself. They had to level the ground and to cut all the stones. from the west side, put it on the east side to create flat ground. So the dynastas, in my opinion, they understood that these sites were producing kind of energy, which was helping people to heal. And I must tell you that till recent time, some local Egyptians in many sites in Egypt used to go to the ancient sites, especially temples, looking for a kind of material or an object or some mud or some powder

to use it in a local recipe for healing. So that was something was happening till the last 20 years, maybe still happening, but in very limited cases now. But I can tell you 200 years ago, it was happening in a very large scale in Asia. Why that? because the generations are passing the information that these sites were producing a kind of healing energy. So according to Chris Dunn, John Kedaman and so many others, that the pyramid, one of the functions of the pyramid was producing electricity. That's why the pyramid was used as a tool, not because it is free location, fancy location, no, because it is like a free ticket to the,

Pharaoh to come back or to go safe to the afterlife. You must understand that the ancient Egyptians were obsessed with the afterlife. They understood that death is not the end. Actually, this is the beginning of a second eternal life. So they wanted to make sure to go to this life well prepared. I will tell you something very strange. if you visit many of the foreign cemeteries, especially England and America,

you'll find in the cemetery in some graves, they replaced the tombstone with an opulisk. Okay, you go to the grave, and I always give this funny example. In the movie, Rocky, I think Rocky 3 or Rocky 4, when his wife died, you see in the movie he is visiting, the tomb of his wife. I think her name was Susan or something, I don't remember. And you see

with the widescreen, some of the graves was an obelisk shape or obelisk design. Why they put an opusk? It is not related to Christianity or Islamic religion or anything like this. So why these people, and that started from Coptic Egypt, okay? So why they put the opelisk instead of the tombstone? Because this is the people. same thing. The opalus, one of the main functions of the opus, is to absorb negative energies. So as if those people in modern days, or not very modern, but let's say the last 100 years, wanted to provide a way to absorb negative energies from the grave of their relatives. So instead of the tombstone, they put the obelisk. Okay. So this is the way that unfortunately,

the dynastas understood the function of these sites better than we do nowadays. Well, Mohammed, thanks so much again for your time, and I look forward to seeing you this May on our Egypt tour. Yeah, me too. I can't wait to start this great tour.