|Posted by JD Jeffrey on September 25, 2016 at 8:00 AM|
Our global historia of monuments in archaic form, prescribe a vast language not spoken in words, for language of our world is constantly changing. Our Grandcestors understood what change is, what it does and how to embrace change. They knew how to leave a message to their future offspring we would understand.
This specified language has been left for our generation to awaken with.
Across the face of mother Gaia etched within her timeless wrinkles called plains, deserts and mountain tops, a gateway to this language is found with an abundance of knowledge. South America's Sacsayhuaman in no exception as it revelates wisdom beyond transparencies.
Sacsay's reknowned history uses various names through phonics pronunciating as 'sacsay-woman'.
"Saksaywaman, Saqsaywaman, Sasawaman, Saksawaman, Sacsahuayman, Sasaywaman or Saksaq Waman (Quechua language, waman falcon or variable hawk, hispanicized spellings Sacsayhuamán, Sacsayhuaman, Sacsahuaman, Saxahuaman and others) is a citadel on the northern outskirts of the city of Cusco, Peru, the historic capital of the Inca Empire. Sections were first built by the Killke culture about 1100; they had occupied the area since 900. The complex was expanded and added to by the Inca from the 13th century; they built dry stone walls constructed of huge stones. The workers carefully cut the boulders to fit them together tightly without mortar. The site is at an altitude of 3,701 m (12,142 ft).
In 1983, Cusco and Saksaywaman together were added to the UNESCO World Heritage List for recognition and protection."
The richest of todays kings with our modern-horses might be able to construct this hupty serpentine..but only 'if' they had a reason..a specfic reason.
Some stones at Sacsay are said to have the colossal weight between 120 and 200 tons.
Humanity did not have that type of reason until NASA's Space-Shuttle came along. Only then did we create cranes able to lift such an extreme weight. The shuttle cranes are huge and stationed. The peculiar part is the cranes used to lift the space shuttle are not at an altitude that defys understanding.
"It’s a ballet, it really is,” says Del Dewees, a lead mechanical technician and veteran crane operator or ground controller for more than 95 shuttle lifts, “but it’s fun once you’ve done it a couple dozen times.”
The process, which calls for a team of about 16 technicians and normally takes between 20 and 24 hours, requires skill and precision. At the center of the operation are two pairs of crane operators and a ground controller. Once the shuttle is maneuvered into the vertical position using a 175-ton crane, it's disconnected and attached to a 325-ton crane. The operator, located in a tiny cab 467 feet above the floor, begins the lift as the ground controller guides him from below." http://www.nasa.gov/mission_pages/shuttle/behindscenes/shuttle_lift.html
Not only are these megaliths huge - but they interlock like a puzzle creating an almost earthquake balanced design. Stacked in awestruck precession formation, this history is examined and scrutinized continually by latter-day archeao-historians for it is plain to see our academia's books have not put 'humpty-history' back together as complete as 'these megalithic messaged walls detail there 'puzzle-piece' installment to an advanced civilization' today present day historians have not accounted or acknowledged.
"The best-known zone of Saksaywaman includes its great plaza and its adjacent three massive terrace walls. The stones used in the construction of these terraces are among the largest used in any building in prehispanic America. They display a precision of fitting that is unmatched in the Americas. The stones are so closely spaced that a single piece of paper will not fit between many of the stones. This precision, combined with the rounded corners of the blocks, the variety of their interlocking shapes, and the way the walls lean inward, is thought to have helped the ruins survive devastating earthquakes in Cuzco. The longest of three walls is about 400 meters. They are about 6 meters tall. The estimated volume of stone is over 6,000 cubic meters. Estimates for the weight of the largest Andesite block vary from 128 tonnes to almost 200 tonnes."
By allowing one's vision not to be enticed into the awestruck achievements of our Grandcestors technology, we can examine thier technological prowess against todays unique 'quick-fix' methods via modern contruction revealing much deserved pure attention of our archiac monoliths doing justice to yester-years techniques built with stone..
Todays modern technology uses concrete poured into a mold to create an ancient technique described as a 'retaining wall'.
The man-made stone for the 'fourty-one inch base stone' in this retianing wall is 2800 pounds.
The additional stacked blocks weigh 1800 pounds each.
This building procedure entails a 'ball & socket' at each end to stabilize the modern reataining wall structure.
To create this wall, a back-hoe
Tmimi-excavator was ustilized.
At a length of 50 feet long by 13 feet tall, the estimated weight is 33000 pounds.
Theories about construction of walls:
"The Inca used similar construction techniques in building Saksaywaman as they used on all their stonework, albeit on a far more massive scale. The stones were rough-cut to the approximate shape in the quarries using river cobbles. They were dragged by rope to the construction site, a feat that at times required hundreds of men. The ropes were so impressive that they warranted mention by Diego de Trujillo (1948:63 ) as he inspected a room filled with building materials. The stones were shaped into their final form at the building site and then laid in place. The work, while supervised by Inca architects, was largely carried out by groups of individuals fulfilling their labor obligations to the state. In this system of mita or "turn" labor, each village or ethnic group provided a certain number of individuals to participate in such public works projects.
Although multiple regions might provide labor for a single, large-scale state project, the ethnic composition of the work-gangs re
mained intact, as different groups were assigned different tasks. Cieza de León (1976:153–154), who visited Saksaywaman two times in the late 1540s, mentions the quarrying of the stones, their transposition to the site, and the digging of foundation trenches. All this was conducted by rotational labor under the close supervision of Imperial architects."
As our Grandcestors lived in perpetual balance with nature, their design was to create what would NOT leave a carbon footprint thus leaving their message in recognizable yet mystifying acheivements. These examples still together after ages in a earthquake zone have kept their secrets until technology was advanced enought to understand.
"Jean-Pierre Protzen, a professor of architecture, has shown how the Inca built long and complex ramps within the stone quarries near Ollantaytambo, and how additional ramps were built to drag the blocks to the construction above the village. He suggests that similar ramps would have been built at Sacsayhuaman.
Vince Lee, an author, architect, and explorer who has studied various ancient sites where people moved large megaliths, theorizes that the blocks at Sacsayhuaman were put into place by carving them precisely. The method used to match precisely the shape of a stone with the adjacent stones is unknown; it may have been scribing or by templating. The blocks would be towed up a ramp and above the wall, where they would be placed on top of a stack of logs. The logs would be removed one at a time to lower the stones into place."
With Sacsayhauman built above the known 'tree-line' and no sign of deforestation needed for the log rolling statement, academic history books reveal 'our-tech' versus archaic-age stone structure simply isn't as viable as what our ancients created and had advanced to.
Secrets of Sacsayhauman's monumental awakening reveal an enormous hill-rock with numerous stairwells and benches carved exactly opposite to Sacsayhuaman into the rock at a place named Rodaderois.
This unique abstract art form known as the 'Throne of the Inca's' details Sacsayhauman's very own 'Stairway to Heaven' which verifies a Sacred 13 Step program found instepped into a megalthic clue as to a codexed sanctuary of the number Th1rt3en.
Sacsayhuamn's longest wall is in approximation of length is 1300 feet. Various other walls contructed exhibit the number 13 also adding it's smallest walls which are all 13.66 feet in length. The structure calculates th13rteen 13's numbered within it's mathematical wall displays.
The base bottom wall in excessive of 1300 ft long by 54 ft wide, is cradling a 'three tiered wall construction'.
Artificially levelled resting on an mountaintop, the colosaal sanctuary consists of three raised compound-wall structures with a circular design built into the top portion.
Believed to be a Solar Calendar, this circular stone structure gesture's itself surrounded in a paved-stone inlay of colored almond-red and blue.
It is said to have 'once contained ruins' of sorts.
This spectacluar sanctuary includes ramps, citadels and underground chambers, storage cisterns, plus a 500,000 gallon water reservoir.
Amazing in it's own right, but the secrets have just begun as this serpent comes alive.
By veiwing the walls and citiadels plus sundial from a topagraphical view - we see this compound is laid out with 'head complete as a serpent', but snakes alive - there are secrets in Sacsay's Serpent shadows!
The monumental Serpent skin walls share a speach shadowed in silence.
Our Sun's Light cast's shadows as a comparative anaylisis at each indent of wall structure playing shadows against the walls and land surfaces . The 'triangular layout to the teired walls' distributes a distinct shadowed-impression to give the appereance of a serpent moving, also found on the Mayan pyramid of El Castillo's-ballister stairway revealing a Solstice significance.
The megalitihic blocks positioned in inter-locking puzzle effect design of Sacay's walls reveal more to the serpents features as an indepth look at the walls details a serpents scaled-skin, intricately woven and intentionally structured to perfection allowing the skin of the walls to scale time itself. The 'three-walls' are a clue showing the serpents scaley under-belly.
Beyond the 'doorway of truth' we find carved into stone, a serpent figure where the depth and size of this encased serpent is large enough to accomodate a human's fist. Upon placing a compass within the serpent-head-hole; the compass will spin free without interuption or magnetic interfences showing it cycles circularly without stopping.
This non-magnetic 'serpent in the wall' gives a doorway to understanding of Sacsayhuaman's implicated message from our Grandcestors towards Codex 13 backed by truth on a slithering snake hill that sheds the serpents skin shining a Lighted pathway.
- END Part One -
Part Deux: the Serpent & the Sundial
The fortress of Sacsayhuaman said to be built by the Inca's employs their religion which was the cosmological worship of a deity from the constellation of Orion in the form of a serpent. Known across North and South America, the name given is Quetzalcoatl - the Plumed Serpent. (also found respectively at Chichen Itza, Teotihuacan, Tiwanaku and Serpent Mound)
The Incan Theology
"Such a civilization as the Incas also had a religious cosmology similar to that of the Bible. As in many other ancient cultures, the Incas had/have a Creator God that had/has a ‘Son’ that came and will come again from the region of Orion in the heavens and that would die like a snake on a 'pole or cross'.
As it relates to the Inca sacred religious precepts, they also have a similar conceptualization of a Trinity like the Christians.
This Trinity is consisting 1st of the Puma for which the Inca attributes it to the Father Spirit. The 2nd person of their Trinity was/is the God Snake on a Cross.
This motif is found all over the Americas and for example, the Aztecs specifically ascribed this personage to a ‘flying shining serpent’. This was Quetzalcoatl or Viracocha, as he is known in South America and was crucified on a cross." http://www.fivedoves.com/letters/may2016/luisv522.htm
Uniquely designed no other monument configures the megalithic statement presented by the hidden language held in the zig-zag patterns of walls and shadows Sacsay envelopes.
The offset pattern encases and reflects shadows which define movement, as we know the Sun travels thus causing shadow effect. Sacsay's shadow effects combined with walls of scales imprinted into it's design features compounded by it's curiously puzzle stacked stones entail a monolitihc serpent -snake design.
Sacsay's 'Point-Density Map'
"Knowing that I would not be able to capture the entire fortress, I wanted to see how well SfM would be suited for creating a map of the giant walls. I had two GPS loggers in my backpack that recorded my position at one second intervals.
In the end I put 171 photographs into a SfM software (Agisoft Photoscan). Photoscan was able to automatically align 168 of these images and to create 163 depth maps at the highest quality settings. Out of this came a dense 3D point cloud containing 593 million points. I used Java Graticule 3D to compute transformation parameters (using modelled camera positions and GPS camera positions) that allowed me to georeference the point cloud. Using these transformation parameters, I rotated the point cloud and created gridded data sets of elevation (i.e., a DSM), vertex colour (i.e., an orthophoto) and the number of vertices per grid cell.
Of course, the DSM and the orthophoto have large holes because many parts of the fortress were not visible on any of my photographs. Because all of my photographs show parts of the giant walls, most of the vertices in the point cloud belong to the walls. The point density map therefore clearly shows the outlines of the walls."
("This was done with a Canon G12, just holding it roughly in the right direction and clicking as I was walking along. Didn’t even look at the display much.") - Ralph Hesse https://blog23d.wordpress.com/2013/06/04/sfm-mapping-of-the-giant-walls-of-the-inca-fortress-sacsayhuaman-cuzco-peru/
The clear definition displayed in scale formation of the megalithic walls by the Point Density Map against stark contrast conjure the winding serpentine of Sacsayhuaman.
A snake's embodiment is made up of two distinct type of scales:
Smaller scales make up the consistency of the top and sides to this type of reptile. These scales overlap providing protection. The bottom of the snake is covered by short, wide, extended scales. This variability form to the under-belly scales are known as 'scutes' allowing the integral ability for it's movement.
"Serpentine or lateral progression: This form of locomotion is the undulating crawl, commonly called 'slithering,' and the most common form of movement. It allows the snake to reach maximum speeds and is employed by all water snakes to swim.
Rectilinear: Large, heavy snakes also use caterpillar or "inchworm" movement to travel in a straight line. They are able to move the skin of the belly forward and then pull the rest of the body along." http://www.peteducation.com/article.cfm?c=17+1831&aid=2974
Sacsay's megalithic walls illustrate a serpent-wall snake-skin imprinted design incorporating shadowed movement. The scupes are 'layered' as terraces on the top of Sacsayhuaman's highest points. This is to show movement of a time cycle.
Viewing the embodiment to Sacsay's layout, it's significant featured Sundial's location is about 25 per-cent from the head layout and an exact location to a snake's heart.
The Sundial's significance is the heart of the matter to Sacsay's megalithic statement.
"Today, Peruvians celebrate Inti Raymi, the annual Inca festival of the winter solstice and new year. It is held near Sacsayhuamán on 24 June. Another important festival is Warachikuy, held annually on the third Sunday of September. Some people from Cusco use the large field within the walls of the complex for jogging, t'ai chi, and other athletic activities."
-'historical excerpts' taken from https://en.wikipedia.org/wiki/Saksaywaman
"Although it is commonly referred to as a 'fortress', the early chroniclers were unanimous in their opinion that it had a reputation as a Royal House of the Sun:
* Garcilaso de la Vega, who sates in his "Comentarios Reales" ("Royal Comments") that people from Cusco knew, from ancient times, that this architectonic complex was actually a Royal House of the Sun. In chapter VI of his Seventh Book he says: "…an Inca with royal blood left the fortress as a messenger of the Sun…he left the fortress and not the Temple of the Sun, because it was said that he was a messenger of war not of peace, that the fortress was the House of the Sun".
* Pedro Cieza de León, Spanish chronicler of the conquest times, states in his book "El Señorío de los Incas" ("The Incan Dominion") that the Royal House of the Sun was located to the north of the city of Cusco, within a collado."
* Martín de Murúa, also a Spanish chronicler, states that Sacsayhuamán "…was, at first, the House of the Sun, and nowadays it is only a witness of its ruin".
The Muyuqmarka: (The Cuzco Sundial, The 'Eye of the Jaguar')
On top of the Sacsayhuaman fortress are the remains of a structure discovered in 1934.
The Muyuqmarka consists of three concentric, circular stone walls connected by a series of radial walls. There are three channels constructed to bring water into what many scientists consider to be a reservoir. A web-like pattern of 34 lines intersects at the centre and also there is a pattern of concentric circles that corresponded to the location of the circular walls.
Originally, the Myuqmarka was a building with 4 superposed floors. The first body would have had a square floor; the second would have been cylindrical; the third would have had also a cylindrical shape. The successive would have formed circular cultivation terraces with decreasing width, being the widest of 3.6 m and the narrowest of 3 m. The tower would have ended up in a conic ceiling. Muyu Marca must have reached a total height of 20 meters. It was as amazing work that generated the admiration of several chroniclers. The Spaniards destroyed it, in spite of the protests both from Cieza and Inca Garcilaso."
Sacsay's Sundial is completed with three concentric Circles; each wall -section are measured in lengths of 13.66 feet.
This time-piece uses the squares within the cirlces to define time. Each individual square fills with shadow at a certain time of daylight exactly at each given hour creating an astrolabe effect in it's reflection such as does Stonehenge.
Sacsay's Sundial use of water canals contribute knowledge to movement of Solstice/Equinox avenues as this water-bearing Serpent enters the age of Aquarius.
The colored stones, definitive triple concentric ring layout and Solstice sundial significance, in miniature, mirror the features of Stonehenge.
When following the path of the Light we find an identical match complete with 'turn and lowering into path of water' signal Stonehenge exemplies through it's tri-ring of cirlces during Summer Solstice at daylights-end when sun-light it crests through the megalithic stones on a path first straight then curving and flowing into the awaiting river. A signal to our Suns's constant river of 'ebb and flow' of life through the cosmos.
Sacsayhauman's center sundial wall with hole drilled through the stone where sunlight can be entered/exit followingthe inlaid 'carved-stone-pathway' showing the solstices path Stonehenge reveals.
Containing over 200 archaeological sites, the construction of Sacsayhuaman covers an area of 3,094 hectares also located directly north of the ancient mystifying city of Cuscco.
Sacsay's complicated megalitihic signature 'stop here' Puma paw shows us that in unification o
f a collective species to mankind.. ..one finger can do much, but all fingers of combined human-races to Earth are truly a paw-sitive reconing.
Time has recyled as we enter this technical age with a true one world language ability to regain our world without borders with the knowing of the numerical code left for our generation to decipher shown based on the movement of the moon, stars and Earth's cylindrical scale 13th Zodiac sign, known in modern times as Ophucius, the serpent that only appears every 13 thousand years. One of the three oldest symbols known to mankind across our globe, Oranos-Orobourus-Ophucius -the serpent signifying a never ending life cycle. The Plumed Serpent Quetzcoatl
Sacsayhauman's coordinates are 13°30′28″South - 71°58′56″West.
This serpentine monument explains knowledge mathematically, geometrically, both shadow and sun light also astronomically as the "Light Bringer" for in the days when the elders walked the earth..knowledge was Light.
Our Grandcestors accommodation of archaic monuments help chronicle our lost and hidden past that exemplifies the message where this information is MORE than important - it is paramount.
Time 'collectively' to come circle full and search the heystacks to release the needles of truth and correct our true history!
With the Grandcestors archaic cloth we are all cut from, and from the needle of Light - let us together sow knowlegde.
Copyright research of JD Jeffrey