|
| |
The Ancient Craftsmanship of Cumbemayo and Machu Picchu
The mysterious drive for perfection in ancient structures
(1st edition - November 2007) by A.O. Kime
 for information on
'renting' this article, see Rent-a-Article
Upon assessing the wonders of ancient civilizations, begging metaphysical
explanation is the outstanding craftsmanship evident in their grandiose
edifices… epitomizing and thus quantifying structural sophistication for the
ages. Aside from their functions of which the practical aspects (apparent or
imagined) are commonly theorized upon including the driving forces (motives),
largely unaddressed are the reasons so much effort was put forth
to obtain perfection. There doesn’t seem an obvious payoff of commensurate
value… not in practical terms.
While assuredly pride was involved, being then one metaphysical explanation of
an emotional nature, it wouldn’t have been reason enough alone… at least not
logically from the contemporary point-of-view. The reason? Compared to yesteryear, there
seems little understanding the human emotions which motivate (such as pride in
craftsmanship)… of little comprehension or appreciation their spiritual relationship.
As a result, the motivation and reasoning to build to perfection their often abstract
structures goes deeper than conventional thinking (one-dimensional) or even archeological
explanations. It is a matter long since forgotten and thus overlooked by the modern
day mentality.
While the grand structures of the ancient Egyptian, Greek and Roman empires symbolized
prestige and power, albeit for evolving reasons to ultimately become political
statements often, any social utility being the unwitting coconspirator, and
while a finely tuned level of sophistication would further empower these
symbols, some ancient works of exquisiteness defy this practical explanation.
Cumbemayo aqueduct
The ancient (circa 1000 BC) Cumbemayo aqueduct in Peru is an example… especially
for not being a structure (per se)
but rather a five mile public works project in difficult terrain designed to
deliver water for irrigation purposes. It stands unique because there seems no
logical reason such perfection was necessary for such a mundane undertaking.
After all, moving water from one place to the next would be thought of today as
merely a practical project and while requiring engineering expertise, such an
artful touch isn’t essential in a water delivery system… yet artfulness is
grandly expressed in these ancient Peruvian aqueducts.
The artfulness expressed is its perfectly straight and aligned ditches, of
uniform shapes and consistent widths, of precise 90 degree angles when
necessary… much of which was chiseling out of solid volcanic rock. Moreover, it
is believed to have been constructed and further smoothed for aesthetic purposes
with only stone tools. It seems evident there
was a profound reason for the aesthetics considering the difficulty involved.
While the petroglyphs associated with the aqueduct are
undecipherable, they would have only told part of the story because, whether
petroglyphs, pictographs, hieroglyphs or a pronounceable written language, the
ability to adequately express spiritual (metaphysical) knowledge has always been
a problem which even the ancient mystics acknowledged. It’s a matter of
semantics (the shortcomings of languages)... so
their works must tell the story instead.
On the surface, the reason the ancients made evident their high level of
sophistication, which often entailed highly impressionable architectural design,
colossal scope and remarkable attention to
detail, was their understanding the relationship between beauty and God… being,
in a sense, one-in-the-same. In order to be godlike, an inherent human trait
although scientifically unacknowledged, craftsmen strive for this in their work.
It is through pride they manifest beauty… perfection being just one of the
countless ways in which beauty can be expressed.
Polished stones of Machu Picchu
While ancient Greek architecture exemplified beauty and perfection more than any
other place, the ancient Peruvians, Incas and Mayans, despite being more
primitive and therefore lacking somewhat in their ability to produce beautiful
structures on the same scale, although pre-dating Greek architecture in some
cases and to some degree being a matter of
architectural preferences (vis-à-vis beliefs, needs), they nonetheless wholeheartedly embraced
and exercised perfection. The precise manner in which the polished stones were
fitted together at Machu Picchu (Incan) is another good example. This
cyclopean-type masonry, honed-down (polished) to fit together with incredible
skin-tight precision, requires no mortar.
In going beyond their practical needs, this perfection was an expression of
their devotion to the Almighty… the effort to be godlike. Assuredly during
these remarkable times, the opinion existed that creating beauty (perfection) is
to emulate God and the most sincere proclamation of devotedness. Like many surviving
adages, “imitation is the highest form of flattery” was derived from the vestiges of
ancient knowledge.
Yet, as a general rule, their homes lacked this high level of craftsmanship as
evidenced in the ancient towns of Pompeii and Herculaneum having been preserved
for the ages due to the eruption of Mount Vesuvius. As further evidence
masterly-crafted homes didn’t exist in ancient times, some would have survived
the ages. Except for a few frescoes,
their homes appeared to have been otherwise drab while at the same time, whether
in Europe, Asia or the Americas... the common theme was the drive towards
architectural perfection in public structures, memorials and royal sepulchers
(pyramids).
Religious pronouncements
The absence of masterly-crafted homes in the shadow of great works indicates a
practical people (like today) living in an age of either (1) religious decrees
or (2) spiritually-enlightened pronouncements. However, these ancient works of a
religious nature were most likely not dictated in the same sense one might
imagine a dictatorial decree... typical of organized religions which came upon
the scene much later. There seems a willingness existed on the part of the public
to voluntarily submit to the wishes of those they believed
enlightened... a shaman or 'high priest' for example. These great works wouldn't
seem possible otherwise.
Since it doesn’t require money to polish stones to a perfect fit, just time and
devotion, the time allocated by an individual is dependent on their degree of
devotion and it, in turn, needs a reason... a good cause. While a home of
polished stones would be an impractical undertaking, a waste of valuable time
and individually insignificant, a grand statement for the ages isn't.
In that architectural perfection was a universal quest, without regard to
race or creed, is evidence these works were divinely inspired. It is no
coincidence… and even if the acts were attributed to ‘human nature’ only fortifies
the fact. After all, psychological (mechanical) explanations are one-dimensional.
Enlightened religious pronouncements therefore, and not public
referendums initially, must have been responsible for the earliest of ancient projects
which later evolved (effectively beginning with the Roman empire) into being done for
political, social and economic reasons.
However, 'pronouncements’ as being responsible for the construction of these
ancient monuments and projects still falls short since the real answer lies
within the details (specifications) within such pronouncements. In
ancient times, they would be based on spiritual beliefs and/or
knowledge and therefore comprised largely of instructions whereby a particular
project would convey a message or messages.
While the end results would indicate exactly what the instructions were, to be
godlike is the most likely answer as to the question of ‘why’. Even when
humans create beauty and/or perfection for monetary compensation, the product is
nonetheless godlike. It has value for that reason because in our quest to be
godlike, albeit going largely unrecognized as the impetus, we strive to create
or possess beauty however it manifests itself.
By example then, the message the ancients conveyed was that beauty is a
particular aspect of God… or, one could say, beauty is his reflection. While
that may be for many the assumption even today, assumptions usually relate to being
‘taken for granted’ and therefore less appreciated. The ancients, on the other hand,
were keen to the fact and thus an ultra-close God-human relationship largely comprised
their view of reality... much like 'government' does today. It seems evident... the
ancients were more in tune with the Creator as evidenced by their structures.
The messages within their works are what petroglyphs, pictographs, hieroglyphs
or a pronounceable written language can’t convey… wholly dependent on the
ability to fathom in a spiritual manner. Of an indescribable vagueness, the
workings of the spirit world can’t be explained in
literal terms, only pictured… but pictured is not images but rather perfect logic
taking shape. It is also difficult to explain since it is apples and oranges in logical
disposition and also unknowable what might be missing in someone else’s picture. Like
the stones at Machu Picchu, logic requires a perfect fit.
Their works exhibited godlike qualities in another manner as well by being both
visually observable and spiritually enigmatic at the same time.
A picture of the metaphysical (its logic) is all we can hope for. It can’t be
described in words… no more than we can adequately describe sensory feelings.
Yet, the pictures the ancients drew are unique because they are (1) illustrated
by example and (2) designed to be long-lasting (and thus godlike) testimonials.
Effectively dimensional, examples provide a better picture which indicates the
ancients were aware of dimensional expressions.
Examples, after all, are visual enhancements and therefore dimensional
(effectively) but by purposefully making them long-lasting as well is yet another
dimension (time related)... "lest mankind forget".
A.O. Kime
These incredible books by A.O. Kime are available here!
~ purchase through Amazon, Barnes & Noble or Authorhouse ~
 |
Wisdom from the Golden Ages!
As the ancients did, learn how to discover the secrets of life... |
 |
The real story of the Stone Age!
Learn we didn't evolve from an ape nor crawled from the sea...
|
Ask your bookstore for titles by A.O.
Kime
~ America's finest metaphysician and philosopher ~
click here to read some of his great articles
This website and contents are explained in our Introduction
>TOP
>HOME
... the place of smoke signals from
the spirit world
| |
A.O. Kime
articles
—AGRICULTURE
Biocontrols
Bio-oddities
DDT ban
Family farmers
Family farms
Farm socialism
Kansas Settlement
—ANTIQUITY
American cavemen
Ancient history
Ancient pyramids
Caveman facts
Caveman story
Cavemen-cultural
Charles Darwin
Cumbemayo
Evolution
Kennewick Man
Montezuma Castle
Neanderthals
Pre-Clovis cultures
Shoofly Village ruins
Stone Age history
Stone Age timelines
Stone Age tools
—METAPHYSICAL
Bodhisattva
Death
Divine
intelligence
Dreams
Enlightenment
Ethics
Guardian angels
Hope
Imagination
Immortality
Instincts
Land (the)
Matrix (real)
Metaphysics
Mnemosyne
Muse
Phenomena
Plotinus
Poetry
Polytheism
Semantics
Sixth sense
Spiritual soul
Spirit world
Subconscious mind
Suicide
Supernatural
—SOCIOPOLITICAL
19th Century
Arrogance
Civil wars
Civilization
Coolness
Economic injustices
Establishment
Foreign policies
Freedom
Globalization
Grand Jury
Herodotus
Int'l Criminal Court
Majority rule
Megalomania
Politesse
Proposition 203
Power lust
Rule of law
Sovereign immunity
Tobacco taxation
War criminals
World wars
|
METAPHYSICS·
ANCIENT HISTORY· SOCIOPOLITICAL ISSUES· AGRICULTURE· DIRECTORIES
