古代塔尼斯、拉美西斯二世和有史以來最大的石像 Ancient Tanis, Ramses II, and the Largest Stone Statue Ever Made

我認為塔尼斯古城的古墓是歷史上最有趣和奇妙的一個景點 它曾是我們過去的許多解謎和謎題 它的歷史跨越了千年 在它多名名下 它一直保存在世代的文化邊緣 曾被稱為索安的城市 它在歷史上被稱為索安的地區 許多人今天會認識塔尼斯的名字 從印第安納·約翰斯的電影中 它曾被稱為索安的圖書館 雖然圖書館從未被找到 我認為這是因為我們仍在尋找地圖室 塔尼斯曾是無觸碰的寶藏最大的發現 從古代的埃及出現 找到與或超越了更有名的黃金奴隸 從吐爾蒙宮的谷中獲得的 黃金奴隸的寶藏 此外 塔尼斯有證據 一段過去甚至超越了 古代的埃及人 因為它被積累了 大量的磁石雕塑和巨大建築物 其精準度和工程 將他們的創造超越了 那些古代的知名技術和工具 至今 在塔尼斯 仍然可以找到 那些可能是 人們手中 最大的和最偉大的磁石雕塑 塔尼斯 多次重建和重建 其物體和建築 被古代的王子重建和消滅 這個過程的明確證據 仍然可以在今天 在這個古老的地方 揭露了古代的最偉大的 磁石雕塑 位於幾個小時的車程 在凱羅的北部 古代的塔尼斯 在北海岸附近的 農業地區 附近的農業地區 從任何角度來看 很明顯 曾經發生過 大規模的建築 你仍然可以看到 很多巨大的 一塊塊的磁石雕塑 在這個雕塑上 附在地上 從凱羅來到這裡 來到這裡 是需要一些努力的 但這也是值得的 因為這裡有很多東西可以看到 而不是一個 常見的地方 像是 The original ancient city was lost to the layers of subsequent civilizations and time And settlements were built on top of the remnants of this once mighty place Over and over again And the actual location of Tannis slipped from the collective consciousness of mankind In the movie Raiders of the Lost Ark, it was supposedly buried thanks to a year-long sandstorm Nazis have discovered Tannis The city of Tannis was consumed by the desert in a sandstorm that lasted a whole year While in reality, this sandstorm never actually happened And it wasn't the Germans who rediscovered Tannis Its location was rediscovered in the 18th century And the first scientific explorations of the site took place on Napoleon's expedition to Egypt in 1798 The Indiana Jones movie was set in the early 20th century Long after the ruins had been rediscovered But the movie did get a couple of details right For example, the pharaoh Shishak, who is mentioned in the movie, did indeed invade and sack Jerusalem However, an Egyptian pharaoh invaded the city of Jerusalem around about 980 B.C. And he may have taken the artifact to the city of Tannis And hidden it in a secret chamber called the Well of Souls This tale of the sacking of Jerusalem is recorded in the Bible And Shishak was later identified as the pharaoh Sheshonq I Whose remains and artifacts were discovered intact at Tannis While there is no map room at Tannis nor a snake-filled Well of Souls And neither is there any evidence for the Ark of the Covenant ever being housed here Although, interestingly, it may well have been kept at Elephantine Island for a time A tremendous treasure hoard was found at Tannis in 1939 By French archaeologist Pierre Montaigne When he located a royal tomb complex at the site that had been untouched by grave robbers It yielded some incredible ancient artifacts Golden funeral masks, a beautiful silver coffin As well as a huge array of jewelry, statues, vases and other items from dynastic Egypt Had it not been for the outbreak of World War II overshadowing this discovery The find would have firmly cemented Tannis as one of the most famous places in Egypt Just think about how many people have heard of Howard Carter and the tomb of Tutankhamun Sadly, Tannis has never achieved this status Despite the incalculable value of the treasures that have been found here Even outside of this find by Montaigne Museums around the world have many artifacts and statues That have been recovered from Tannis during the last couple of centuries If you want to know more about what Pierre Montaigne found here I'd recommend a video from Matt at the Ancient Architects channel He covered it extensively last year and there's a link to that below At least to me, of much more interest are the remains of the massive megalithic architecture That can be still seen on this site And that gives some clues as to the possible true antiquity of Tannis' origins This once mighty temple complex was truly huge According to some historical accounts It spanned an area of some 1500 by 1200 feet Or 450 by 265 meters Its core complex was made up of megalithic blocks of granite That Flinders Petrie estimated as weighing more than 20 tons each Think of the Valley Temple at Giza or the Assyrian at Abydos But just something that is far greater in size You can gain a sense for just how large some of these structures must have been By taking a look at the writing that's on these big granite blocks right here What you're seeing is the line in a cartouche And if this is the size of a single cartouche You can only imagine how big some of these walls must have been At one time during the dynastic Egyptian civilization The entire complex had a gigantic mud brick wall built all around it A wall that was 70 feet thick, 50 feet high, 3500 feet long And was comprised of more than 20 million individual mud bricks This wall has almost entirely been washed away in our modern time Today on this site we can find the remains of avenues Of obelisks, columns, sphinxes and just colossal statues Many of these artifacts along with the megalithic blocks And other constructions are covered in hieroglyphs And it's from these that much of the mystery and controversy About the origins of Tanis Springs In Egyptology it's common practice to date artifacts And even entire sites by what has been written on them And although this isn't the only method used to build up a picture of history It's certainly a primary one While this practice has its place I happen to think it's also a method that is rife with inaccuracy As all you are really doing by dating the writing on a box or an obelisk Is dating the writing itself It really says nothing about the origins of the object Only of the writing This is particularly evident in cases where the technological aspects Of the construction of the object Far exceed those of the methods used to carve or finish the writing With no better example of this than the mighty precision granite boxes Of the Serapim of Saqqara With their awful chicken scratch writing that has been used to date them This is a topic I've covered in some detail In my series on the evidence for ancient high technology And also in the final chapter of my Serapim series And rather than repeat myself here I'd recommend that you check those out If you want to hear more on that topic Links are in the description box below This issue of vastly disparate levels of technology Existing between the objects and the writing that's on them Also exists at Tannis But here we have strong evidence for another problem With dating objects and sites by their writing And that's the problem of inheritance, renovation And the hieroglyphic rebadging of various objects For want of a better term These problems get at the core of the enigma of Tannis As its objects and artifacts have been inherited and then renovated Some of them several times over This process usually involves chiseling off the older inscriptions And adding fresh ones Dedicating the object to whatever pharaoh was flavor of the week Back when Moses was playing halfback for the Israelites Obviously this makes the practice of dating and relating objects By what's written on them fairly problematic to say the least However much of our mainstream version of history Is built upon just these types of assumptions and leaps of logic Flinders Petrie who investigated and excavated at Tannis in the late 1800s Neatly summarizes this issue with a passage in volume 2 of his Tannis reports Quote The local mythology of a city is to be learnt from the dedications of its temples And of the monuments adorning the temples Often it is found that nearly every monument Bears a dedication or an expression of homage To a particular god or goddess Brought into connection with a particular geographical name And the name of the city and its local worship Can then be identified at once At Tannis the case is very different And nothing can yet be considered certain with regard to it End quote We're going to examine a number of the artifacts at Tannis But as we're walking around I want you to take notice of a specific hieroglyph It's one that you will see carved into many of the objects here And once you see this particular cartouche You may begin to notice it on other ancient Egyptian sites As well as on various objects in museums It's this one The royal cartouche of the pharaoh Ramses II Also called Ramesses or Ramessu His throne name can be written horizontally as shown here And also vertically But it will be the same combination of symbols Roughly translated as Usumat Ra Or the justice of Ra is powerful Chosen of Ra His name was written in other forms also But this is the one most commonly found In fact you can find it almost anywhere A temple has been built across ancient Egypt It's certainly a glyph that is found all over the place Here at Tannis It's also prominent at the massive Karnak and Luxor temples Most of the giant single piece granite statues In those places bear his mark As does the 800 ton colossus of the Ramesseum Which was named after him This granite colossus from the same region Also has his name carved into it The great sandstone temple of Abu Simbel Which was moved in modern times Is also supposed to be made in the image of Ramses II The History Channel recently uploaded a video To their YouTube page in May of 2020 Called Lost Worlds Ramses Egyptian Empire In which they glowingly review All of the supposed achievements Of this notorious king of the 19th dynasty Today Ramses is considered to be The most powerful pharaoh to have ever ruled Egypt Called Ramses the Great or Ozymandas by the Greeks But did Ramses actually build everything That we see at Tannis or at Luxor or at Karnak Or at Abu Simbel or at many of the other temples That bear his name Or is it more likely that he did What so many other rulers throughout time have done And simply inherited many of these objects and structures And then perhaps more so than anyone else in history Had the temerity and ego to deface them To chisel his own name into them In some vain attempt to achieve immortality Given that we're still here Talking about Ramses II More than 3,200 years after he lived It's possible that he was on to something But evidence at Tannis shows the reality Of what actually happened Take a look at this segment of a wall here at Tannis Being shown to me by Yusuf Awan This was likely once a section of an obelisk That was then repurposed into a wall Or some other construction You can clearly see Ramses II's cartouche But in this case and for whatever reason The work was left unfinished And you can see just how the stonemasons Had effectively been writing over older glyphs And replacing them with new ones Note the blending of the surface Into the bird glyph at the end of the block Ramses was having his name added to an artifact That he had nothing to do with creating So how can you then attribute this object to him Another good example of inheritance And the hieroglyphic reclaiming of objects Can be found on the beautiful Black granodiorite sphinxes That are housed in the Cairo Museum These are thought to be Hyksos era sphinxes With their full beards And several of these were found at Tannis These show some incredible polish And detail in their construction Just look at how the ribs use light To show their effect Yet the glyphs on and around them Have been crudely and imprecisely cut On the sides and front of the pedestal here We can again see the cartouche of Ramses II The writing that is on the shoulder Of this ancient artifact I can really only describe as being vandalism It mars the immaculately polished surface With the crude work of a chisel and hammer The hair or the mane of this statue Also seems to have been reworked at some point The practice of altering the style of statues Is something that happened to many of them Along with the adding of later hieroglyphs I don't want to demonize Ramses II Necessarily as the only perpetrator of this practice While he was certainly The most notorious and successful at it Evidence shows that many kings Engaged in claiming older artifacts In particular the other rulers Of Ramses' own 19th dynasty Notably Ramses' son Marin Petard I Seems to have learned some lessons From his old man And in some cases he even removed His freshly carved father's name from objects In order to then replace them with his own The cheeky little bugger Although this isn't often discussed In the mainstream narrative today The evidence for the ancient inheritance And renaming of objects Certainly didn't escape the notice Of the gentleman scholars of our past Once again we turn to the writings Of Flinders Petrie Who cataloged and analyzed All of the hieroglyphs That he could find at Tannis It must have been an incredible amount of work And we have him to thank For much of the fundamental research And understanding we have on this site today In volume 1 of his works on Tannis He often and repeatedly reports on examples Of where just such reclaiming And defacement of older objects took place Amongst other descriptors Petrie named Ramses II a Magnificent egotist And he condemned the practice of reclaiming That was so prolific during the 19th dynasty In the Louvre Museum in Paris Is housed a beautiful red granite sphinx That came from Tannis It's one of a matching pair That were found on the site Flinders Petrie when discussing These wonderful artifacts Explains the comedy of the repeated appropriation That they have suffered through over the millennia These sphinxes have passed through Many appropriations But they were executed in the 12th dynasty To judge by the fineness of the work And the treatment of the details On the chest of the sphinx in the Louvre May be seen traces of the so-called Banner of a king With a hawk above it A fragment of the end of a sickle May also be distinguished on it And this shows that it must be Attributed to Amenemhat II Or Usurtasen II The next name is that of the Hyksos Apipi Of which I could only see the inscription On the right side of the base After this, Meren Ptah appropriated it Cutting out the earlier names With his usual brutality And placing his cartouches On the right shoulder Finally, Sheshonq I, the great Shishak Occupied the left shoulder with his cartouches And cut a long inscription All around the base End quote Petrie also notes When discussing many of the Other artifacts of Tanis That the later addition of hieroglyphs Is often distinguished by its crude nature In a clear contradiction To the level of craft Shown in the construction Of the older artifacts That were being defaced The more modern glyph marks Are of an obviously lesser quality To the work that preceded them A fact that lies in plain sight For anyone who visits Egypt With an open mind to see for themselves Visit the Cairo Museum And you will see crude glyphs With obvious chisel marks Made into countless Seemingly perfectly finished And polished ancient objects A few further examples From Flinders Petrie When discussing some of the Granite blocks at Tanis That seem to have originated In the old kingdom Petrie wrote Quote It is most likely That the ruthless appropriator Of obelisks and statues Ramessu II Did not object to having A few convenient blocks Looted from a ruined temple At Dendera Of which the founder Had been then dead One or two thousand years End quote Petrie here is discussing Two black granite statues Of seated females Perhaps the princesses Of earlier dynasties There are two seated Female statues here In black granite Probably belonging To the earlier part Of the twelfth dynasty They are princesses And perhaps daughters Of Eucertas II As there is also a statue Of his wife In the same material Ramessu II Afterwards took this statue And had all the dress Worked up into A ribbed pattern of folds Leaving parts of the old Smooth surface At a higher level Just in the hollows Under the arms The hair was also worked Into wavy tresses Parts of the old surface Remaining also here The face appears To be untouched Judging by its style And high finish The outer part of the Balls of the thumbs Were cut away Towards the wrists Apparently being considered Too massive and heavy For Ramesside's style Although they are rendered Wholly unnatural By the alteration Finally a long inscription Adopting the statue Was cut on the back And both sides The cutting is in the bold Course style General in the Ramesside period Quite unlike the delicate And highly polished Horoglyphics of the 12th dynasty On the front of the throne To try and unify The whole thing And ignore the theft The titles of the old princesses Were repeated on the side By Ramesside II As part of his mother's inscription The body has been broken From the throne And the base of the throne Is lost Otherwise this curious example Of misappropriation Is in good condition End quote Here Petrie is writing about Some of the many obelisks That can be found at Tannis Quote Another monument of the same period Also appropriated by Ramesside II Is a red granite obelisk The original engraving of this Was only on the upper part of one side But Ramesside added his name In two columns below that And on all the other sides Of this obelisk It will also be seen That he erased the names Of the older king To substitute his own And the trace of the older cartouche Is visible on the upper part All together This is a curious monument And makes us regret The insatiable egotism Of its usurper End quote And finally When writing about Yet more of the obelisks of Tannis We can get a sense For the great frustration That Petrie must have felt When faced with the repeated evidence Of the ancient defacement Of these mighty works Among the lesser obelisks In the temple are two Which are pamplissettes Ramesside II Having erased the older inscription In order to appropriate them Once again We must execrate The destructions Of the 19th dynasty End quote There are many more examples Of this type of thing In Petrie's works on Tannis But I think that I've made my point Which is that it is A well established fact That Ramesside II Amongst several others Regularly engaged in this practice Of reclaiming more ancient relics For themselves How then can we date these objects By the writing that is on them I think this question Should be vigorously applied In particular To the technologically advanced And massive stone objects Like the statues and boxes Found across many of the sites in Egypt And when it comes to Massive stone statues At Tannis can be found evidence For what might have been The largest single piece statue Ever made Something almost double the size Of the mighty colossi of Memnon And that would have positively dwarfed The incredible single piece granite works Found at Luxor and Karnak The scale and sheer mass Of this work Would challenge even our own Modern capabilities And I really struggle to perceive Just how a supposedly Primitive civilization Like the dynastic Egyptians Ever quarried, carved or moved Such a piece Although only small fragments Remain of this statue In particular this foot Just take a look at the size Of the big toe And try to imagine The epic scale of this statue Flinders Petrie discovered this piece In the late 19th century at Tannis And from this foot He estimated the original scale By comparing it to the anatomy Of an average man As well as to the dimensions Of two smaller colossi That were still intact In his book Ten Years Digging in Egypt He wrote the following About this statue Quote In this way I examined every block And discovered the fragments Of the enormous colossus Of Rameses II in red granite Which must have been about 80 feet high And have towered far above The temple roofs Amid the forest of obelisks Which adorn the city The toe alone Is as large as a man's body End quote I suspect this is a rare mistake By Petrie And I think he meant to write That the foot rather than the toe Was as large as a man's body As from his dimensions The big toe of this statue Measures nearly 15 inches long While the foot measured Nearly 60 inches or 5 feet In volume 1 of his Tannis books Petrie reported in more detail On his find Quote Taking these scales of proportion The figure alone of the colossus Would be 796 inches By the pair of colossi Or 993 inches By the modern proportions As the feet of the pair of colossi Are broad beyond all natural proportion Being equivalent to a foot 5 inches wide On an ordinary man We shall not perhaps be far wrong In taking the mean of the two results And saying that the figure alone Was 900 inches or 75 feet high Or allowing it to be somewhere Between 70 to 80 feet To this we must add The height of the crown This in the pair of colossi Is estimated at 42 inches Beyond the top of the head And would proportionately Be 174 inches high Or 14 and a half feet To this again must be added The base of the figure Which was thinner than the usual scale Being only 27 inches thick Thus the whole block Appears to have been about 1100 inches Or say 92 feet high This was so far as is known The largest statue ever executed Was it a monolith? Will be asked We can only judge by parallels As it has now been cut into pieces There is the obelisk of Hatassu 108 feet high at Karnak And there is the seated colossus Of Ramessu II Weighing over 800 tons At the Ramesseum These are works Of much the same magnitude While on the other hand No example is known Of a composite statue In Egyptian work Except where introduced As an architectural element And built in small blocks With a column Thus vast as the size appears There is no sufficient reason To suppose that it was not carved In one block of stone Thus we have here recovered Some notion of what have must been The glory of the capital of the delta Towering above all the surrounding buildings A figure seen for miles Across the plains As the sign of the power And magnificence Of the great Ramessu A colossus unsurpassed By any monolith Of previous or later times To give a rough idea Of just how huge This statue must have been We can compare it To other known works The seated statue At the entry to the Luxor temple Is roughly 46 feet tall Or 14 meters According to Petrie This colossus at Tannis Would have more than doubled This in height At nearly 100 feet tall This is significantly larger Than even the Colossi of Memnon Which stand around 60 feet tall And are estimated to weigh More than 700 tons each It would have been Roughly the same size As the Statue of Liberty From crown to feet Around the same size As the renowned Colossus of Rhodes And both of those examples Were hollow and built Piecemeal from metal Rather than being carved From a single solid block of stone This statue at Tannis Would have likely easily topped 1,000 tons And that's after being carved From the original block In the quarry I can only imagine That this stone must have been In the territory of We'll say 1,500 tons or more It's truly an incredible achievement And one that was executed Thousands and thousands of years ago I think the truth of Ramses the Great's achievements Lies somewhere in the middle ground He reigned for a really long time Nearly 70 years And he reigned over an ancient Egypt That was at one of its heights Of capability and power Undoubtedly he did build And expand structures If only to house The various objects That he appropriated But he likely also commissioned New statues and other objects Today in our Orthodox version of history All of these statues at Luxor At the Ramesseum Abu Simbel And indeed many of those at Tannis Including Petrie's giant foot Are attributed to Ramses II Indeed they are thought to be Statues of him All because his name Is written on them In truth however The faces of many of these Mighty granite colossi Particularly those at Luxor And at the Ramesseum Are so perfectly symmetrical That they simply cannot be The face of any human As has been demonstrated conclusively By engineer Christopher Dunn Simply put We're just not as perfectly made As were these ancient works Of high technology and art No human is as perfectly symmetrical As are these statues See my video on precision If you're looking for further detail About this But in summary The precision that is evident In these statues Far exceeds the known capabilities Of the dynastic Egyptians And it certainly exceeds Any tools that we have from them That exist in the archaeological record It's just not possible So based on the evidence For the rebadging of artifacts And the evidence that's in the technology Of their construction We have to search for new explanations For the origins of these works One possible answer Is that many of these Massive granite objects Were inherited from an earlier time They were found sacred And awe-inspiring By the dynastic Egyptians Much as we find them To be awesome today They inspired the culture And the art of dynastic Egypt And they were claimed And written on By hugely ambitious rulers Like Ramses the Great And we have direct evidence For this practice This fact is rarely discussed In the orthodox history world today I think perhaps Because it opens up Too many questions If the mighty colossi Of Luxor and Karnak Aren't in fact statues of Ramses Then who made them? More importantly When were they made? When you combine Lines of investigation like these Along with the undeniably Advanced technology That is evident in the construction Of these objects It threatens to topple The house of cards That is our current version of history There's a subtle point here That I want to make But it's an important one It's that we really cannot Separate the lost builders Of such objects From the dynastic Egyptians I still think That the old kingdom of Egypt Is one of the greatest contradictions In the modern narrative Of human history Just how did this old kingdom Pop up out of nowhere Out of the stone age Without iron tools Without the ability To quarry granite Yet immediately They supposedly created Some of the greatest Architectural feats The world has ever known Feats in the old kingdom pyramids In the massive granite temples Columns and other objects It just doesn't make any sense That when we put these facts Into the context of inheritance Of cataclysm And of longer timelines We can begin to understand them Interpreting history Will always involve Conjecture and guesswork So let me engage In a little bit of that And lay out the scenario That makes the most sense At least to me I think that it's very likely That many of these objects And structures Came from a time Before the cataclysm From a civilization Of high capability That was almost entirely wiped out And is today lost to us We 100% know That this cataclysm happened It was called the Younger Dryas And it took place Around 12,800 years ago I'm sure many of you know this And it's what wiped out Much of the megafauna That were living on the planet At the time And it also put a savage dent Into human populations I think it's possible Even likely That some small parts Of this lost ancient civilization Survived the cataclysm To pass some of their knowledge on Even if their capability Evaporated along with the megafauna I think this knowledge Is reflected in some of the truth That is contained in so many origin stories From religions and cultures Around the world That speak of cataclysms Of fire and flood Of ancestors barely surviving this And being forced to begin again I also think some of this advanced knowledge Has survived in the enigmas Of the ancient and highly accurate world maps That predate many known civilizations I also think that the culture Of this lost civilization Is reflected in the astonishing trend Of pyramid building That we can find evidence for All around the globe today Further I think evidence for their technology And their capability Has been preserved in the massive precision works Of megalithic granite architecture and objects That again we can find everywhere From South America all the way to Egypt And I think that millennia later After mankind had been blasted back to the Stone Age By the Younger Dryas Cataclysm We eventually rose up again And in the case of ancient Egypt We rose again with one hell of a legacy More so than in any other part of the world The dynastic Egyptian civilization Inherited objects, structures And even knowledge and history As they connected themselves To this time of the gods That they called Zep Tepi Through their own timeline And their own historical records And these are records That we arbitrarily dismiss As just simply ancient myths today They used these inherited objects They formed culture and ceremony around them Even if that was not Their original intended purpose That is ultimately what they became The style and shape of artwork Statues, boxes and buildings Flowed directly into What the dynastic Egyptian civilization Evolved into These ancient sacred objects Their style and the culture Of the original builders Drove the entire dynastic Egyptian civilization Over thousands of years Ultimately this inheritance Was claimed as their own By rulers like Ramses II Driven by ego and visions of godhood And today we're left trying to interpret This whole mess By attributing these objects To whoever it was That last broke their name on them So in this way I think it's very difficult To separate dynastic Egypt From the original builder culture Rather I think we should be seeking To extend the timeline of Egypt Far further back to them With a long dark period Of thousands of years After the cataclysm Before humans had the numbers And capability To rise into civilization once more Now there's probably A whole other video's worth Of exploration that I could And should do on this topic And perhaps I will But in general The more that I research And investigate These areas of our past The more that I'm convinced We're entirely wrong With our assumptions About the beginnings Of human civilization Yet at the same time Our academic establishment Seems to be becoming Ever more dogmatic In their insistence That there's just nothing to see here And anyone who doesn't agree with them Are just alien chasing Racist pseudo-archaeologists I'm not even making that up Those are 100% the terms Being thrown around By supposedly reputable And tenured professors It's honestly getting A little tiresome To hear the same Old logical fallacies And straw man arguments Again and again Some of you may recall that In a live stream last year I deconstructed Just such an attack On Graham Hancock In one of the Mainstream archaeological journals And how authoritative Establishment-driven websites Like Wikipedia Are used like a bullhorn To propagate their Dogmatic proclamations About the truth of history Links to those streams Are below if you want to see them The reason that I mention All of this Is that Tannis happens to be An excellent example Of just such an authoritative approach To history by the mainstream In particular when you read The Wikipedia entry for it This entry comes across as having Literally zero mystery here at all Apart from being very brief The article simply states that Tannis is unattested Prior to the 19th dynasty And that the earliest buildings On the site date to the 21st dynasty It further says that Anything on the site That is dateable to before this time Was simply just brought there From other sites I think this is laughably Far from the truth And you don't have to go Very far to show it Tannis is undeniably Older than the 19th dynasty Although it was the rulers Of the 19th dynasty Particularly Ramses And his son Meron Pata Who scrawled their names all over it Once again we have to turn To the archaeologists Of previous centuries In order to get a less Blinkered and authoritarian Approach Flinders Petrie was convinced That Amenemhat The first king of the 12th dynasty Built a temple here As there are many objects That reflect the style Of that dynasty As well as a red granite Colossus said to be of him At Tannis This statue was Perhaps predictably Later reclaimed by Meron Pata Of the 19th dynasty By carving his own name onto it When writing about this statue As well as the red granite Columns found at Tannis Petrie said The first piece of work As yet known to belong to San Is the red granite colossus Of Amenemhat I The first king of the 12th dynasty The greater part Of the lower inscription Has been hammered out By Meron Pata I In order to substitute A barren repetition Of his own name In the rudest style Only the small strip Of old titles Being left in the middle It seems certain That Amenemhat I Built a temple here As his statue was doubtless Placed in some large building And there are many Fragments of columns Of red granite Which appear to belong to him It is impossible To assign them to the Ramesside Or any later period The signs of deep antiquity At Tannis Continue back even further Petrie also found Evidence for buildings That may have occurred In the old kingdom In particular A number of blocks And inscriptions That seem to trace back To the well-known Pepe Of the 6th dynasty Although Given the many renovations And layers of Subsequent building He does admit That this is far from A certainty And that it's possible That these granite blocks Were imported from Older sites And reused in later times By Ramesses In my opinion The origins of Tannis Likely stretch Far further back in time Even to pre-cataclysmic times But it will be Almost impossible To ever really know for sure When this place Was originally built I think that Tannis And perhaps more than Any other site Has been repeatedly Renovated Reclaimed And reused Which has muddied up The waters of its origin There is likely Much more yet to find here In fact Recent ground penetrating radar scans Have revealed Further construction In deeper layers At the site And even though This exploration Is happening very slowly New discoveries Are still being made In this area Today The ruins of these Ancient and priceless monuments Are left resting in the sand As a reminder And distant echo Of the glory And achievement Of the mighty structures That once stood here Rivaling any of the Far more famous sites Of ancient Egypt Although almost nobody knows it Tannis is one of the most important And relevant historical sites That connects our civilization To the lost times Of the ancients Much like the lost labyrinth At Hawara Its legacy deserves better of us And rather than being dismissed As a footnote in the achievements Of a hugely ambitious And egotistical ancient king Tannis should be celebrated And investigated As one of the cradles Of civilization And as a remnant Of a long-forgotten And lost era Of human achievement On planet Earth 大家好 我希望你們覺得 這件事很有趣 這是一座真正的 Tannis的雕像 對吧 當時 肯定是一件 非常巨大的 作品 我希望 Tannis 在今年 可以重新展開 我很期待 回到埃及 很快 我已經把很多文章 剪輯出來了 我將將它們 分成三部份 這是我對 古代科技的證據 這是一部 關於建築技術的 特別是 如何 像這樣的雕像 或物品 可能被移動 例如 孕婦的石頭 Balbek Trilithon 不完整的Obelisk 我認為 我們必須 解釋 和承擔 如果我們 假設 某些 古代古代 移動它們 沒有 科技的 我認為 我們並沒有 做到 到此地步 並不是 在爭論 兩噸 或十噸 或甚至 二十噸 的雕塑 有足夠證據 證明古代 能夠 移動它們 但是 我們必須 承擔 如果我們 說 這是 某些 古代 使用 古代的方式 我對此 感到 我希望 所有人都正在 好好的生活 在我們 所經歷的 這個頻道 已經達到 一百萬訂閱 此時 我非常感謝 大家的支持 感謝 所有 訂閱 和觀看的 影片 我特別要 支持 這個頻道 以 此 為 而 發聲 我 非常感謝 大家的 支持 我非常感謝 非常感謝