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The pair statue from the Tomb of Ikhetneb has lost most of its original paint on the faces
and upper body of the two images, while much of the original paint on the legs and feet
still survive. It seems evident that the darker paint has been deliberately erased on the
face and upper body, thus giving the images the illusion of a white-skin appearance.
Ra-Hotep and Nofret (also see part 3 of this series on the Museum Evidence)
that there is a list of specific artistic rules which are consistently applied to statue
after statue throughout the pyramid age.[1] Although some writers would attempt
to argue to the contrary, the fact that there was a body of specific artistic rules is
demonstrated by the tens of thousands of statues and paintings that are
presented in exactly the same way across various sites and cites throughout all
of the major periods: the old, middle, and new kingdoms. Thus, these shocking
forgeries make no artistic sense as they violate a long list of clearly defined rules,
according to the ancient Egyptian rule system. Further, these fabricated
European-looking statues do not make any cultural or historical sense, and it is
consistent that they were found (or rather created by modern hands) during the
19th century, which has been called by some historians as The Great Age of
Fakes. There is no doubt that the Ra-Hotep and Nofret forgeries stand
completely outside of the ancient Egyptian artistic, cultural, and historical reality.
One of the great forgeries of the 19th century which has already been proven is
that of the famous Queen Tetisheri. The statue of Queen Tetisheri was
purchased by the British Museum in 1890, and this fake piece (with its facial
features resembling most Europeans) was paraded around the world until it was
first suspected as a fraud in 1984. This fake Tetisheri statue was showcased in
the British Museum special exhibit on forgeries in 1990, but not before this
forgery fooled experts and deceived the world for 100 years![2]
This limestone statuette inscribed with the name of Queen Tetisheri was long regarded as
an important piece for the study of ancient Egyptian sculpture of the late 17th and early
18th dynasties. Now, however, this world renown statuette is regarded as a modern
forgery.
Who are the conspirators responsible for these acts of destruction, alteration and
invention is a basic question that must be answered. Brian Fagan in his book on
The Rape of Egypt (1975) documents a list of culprits: the Christian Copts who
destroyed statues and monuments; the conquering Arabs who dismantled
ancient buildings; and the 18th and 19th century European travelers,
adventurers, and archeologists who were treasure hunters, plunderers, and
looters. It was during the 19th century that a vast number of ancient Egyptian
artifacts were excavated, but most of these discoveries were not adequately
documented, with original on-site photographs and detailed field reports, which
are now standard procedures within the archeological field. The systematic
documentation of archaeological excavations did not develop until many years
after volumes of artifacts were already taken from their original African sites and
eventually placed in museums. Indeed, it is a sketchy record of how most of
these artifacts were discovered and eventually made it onto museum floors.
This brings us to the identification of a large group of conspirators, who are the
handlers of the excavated artifacts. This group includes excavators,
antiquities dealers, museum curators and directors, and restorers and
conservationists. Somewhere between the original excavation of the artifacts,
to their transport, sale and acquisition, storage, cleaning, conservation, and
finally their display on the museum floor there has been a diligent effort at
altering, reworking, and touching up the facial features of countless statues.
The conspirators who perpetrate these acts are behind the scenes actors who
use a hit and run strategy of defacement and alteration of the art. They hide their
hands from public view, but the results of their fraudulent and destructive activity
is plain to see by anyone who carefully examines the evidence, as their pattern of
fraud is highly distinctive. The lack of original documentation of many excavated
artifacts has made it easy for these conspirators to commit their fraud. It is well
known that many great artifacts of ancient Egypt were destroyed by the hands of
plunderers during the widespread looting and trading in antiquities that went on
for centuries, but what is not well known is the full story of the artifacts that did
survive the wave of plunderers and make it into modern museum collections. I
show in Modern Fraud that a large number of these surviving artifacts have
undergone a racial makeover at the hands of modern conspirators. The results of
their fraudulent work are the countless altered artifacts, reworked pieces, fake
genealogies, and a host of forged statues.
The most recent revelation of the racist fabrications by this group of handlers, or
more specifically Western museum directors, is reported in the current issue of
Archaeology Magazine 54 (September-October 2001, p. 27). This report is
associated with an article by Peter Lacovara et al. Archaeology reported that in
the absence of scholarship the directors of the Niagara Falls Museum in Ontario,
Canada fabricated pedigrees for many of their Egyptian mummies in the midnineteenth century. The most imaginative of these fake pedigrees, or false
identities, was created for a bearded male mummy of the Roman period. The
museum officials invented the following elaborate story for him which is a
of his work that ancient Egypt is now seen by mainstream scholars as an African
nation. Trigger also comments that the white racist rhetoric that permeated most
early twentieth-century writings about the development of Egyptian civilization
has long been abandoned, [but] ideas formulated at the time have continued to
influence thinking about the origins and nature of Egyptian civilization.[5]
The white racist rhetoric that Trigger describes as permeating early twentieth
century writings is simply a continuation of the same racist views held in the 19th
century, and it is within this climate that the behind the scenes handlers had both
the motives and the opportunity to deface images, alter facial features, and
create racist forgeries.
RESPONSE TO THE SERIES
Since I first wrote "The Vanishing Evidence" series in 1995-1996, there has been
much discussion, and many individuals across the country have indicated to me
that they have also observed both the human-aided deterioration and the
deliberate acts of destruction against Black images and artifacts. I have
examined photographs of several of these individuals who have traveled to Egypt
at various times, and for the most part only a very small percentage of their
photographs are useful, because the individual photographers are not trained on
how to systematically document the damage. However, some of the images are
invaluable as they document the ongoing assault on Black images at major
temple sites. It is now known by many that the physical evidence of classical
African civilizations is vanishing before our eyes in essentially every geographical
area. Many people are now aware that the human-aided decay, distortion of the
artifacts, and deliberate defacement is widespread and this damage is most
obviously visible at popular temple sites throughout Egypt.
Predictably, there have been a few white writers who have made ignorant
comments about the The Vanishing Evidence series without even looking at the
artifacts in question! They have not examined the first-hand evidence that I
outline in the series, but they attack without anything other than empty emotion.
They are in blind support of the fraudulent activity and racist scholarship of the
19th and 20th century. These people subscribe to Western colonial scholarship,
eventhough this scholarship was born and bred in the brutal period of European
expansion and colonialism. Egyptology as a discipline originated in this shameful
19th century era, and still maintains -- with little improvement -- its arrogant
colonial discourse about African culture and civilizations. Any research that
challenges this Western paradigm is automatically attacked by the apologists of
this paradigm as wrong misinformed, or pseudo-scientific. These individuals
are willing to do whatever it takes to ignore evidence, and in some cases lie and
mislead the public.
PREVIOUS DOCUMENTATION
ago. For example see: KMT premiere issue (spring 1990), pp. 9, 11, 16; and KMT vol. 5, no. 4
(Winter 1994-95), pp. 45-46, 60. KMT now seems to have adopted a new favorite set of modern
racist drawings by Winifred Brunton to illustrate its various articles; for the complete set of the
Brunton drawings, see KMT, vol. 1, no. 4 (Winter 1990-91), pp. 52-61. Also see KMT, vol. 8, no. 1
(Spring 1997), p. 31; and vol. 12, no. 3 (Fall 2001), pp. 1, 74. [Return to text]
[4]Cheikh Anta Diop, The African Origin of Civilization: Myth or Reality (1974), trans. by Mercer
Cook. The African scholars C.A. Diop and Theophile Obenga solidified their position of Egypt as a
Black civilization at the historic 1974 Peopling of Ancient Egypt Symposium. See: UNESCO,
The Peopling of Ancient Egypt and the Deciphering of the Meroitic Script: Proceedings of the
Symposium held in Cairo, Egypt from 28 January to 3 February 1974 (The General History of
Africa, Studies and Documents, no. 1, 1978), p. 102. [Return to text]
[5]Bruce Trigger, Egyptology, Ancient Egypt, and the American Imagination in The American
Discovery of Ancient Egypt (1995), pp. 21-35. [Return to text]
[6]John Romer had already done thorough work in documenting the deterioration of the
monuments, with his publication, Physical Deterioration of the Royal Tombs in the Valley of the
Kings: A Progress Report on the 1977-1978 Season of the Brooklyn Museum Theban Expedition
(1978). Along the same lines, Romer wrote The Rape of Tutankhamun (1993), which was later
turned into a one-hour PBS television documentary in 1994. [See:
http://www.geocities.com/Athens/7171/romer.html] [Return to text]