Palenque sarcophagus levers technologies evidence

Report: #0200

Palenque is a Maya city, located in a place in the jungle of southern Mexico. Today, this Mexican state is called "Chiapas."

The Maya were a strong and dominant people in this area, still in their glory when the Spaniards and Catholic Church missionaries came during the conquest of this people, of this entire continent.

But that is not the topic of my report today. Much has been written about the Maya, and even more is yet to come.

The magical date of the year 2012 is approaching. But let's talk about that another time.  We have known about the Maya pyramids for a long time.

But a city called Palenque became known worldwide. 

Source: National Geographic  Palenque and the lid of its sarcophagus.  

My friend, Don Erich von Däniken—besides having all, but all, of his books in my library, some personally signed with his signature and wishes—made echoes of this carved lid with figures, found beneath the "Temple of the Inscriptions."

Since the publication of his books, each person interprets the image engraved or carved in stone on this sarcophagus lid—supposedly of the king or god Pacal—in different ways. This seated figure is a mystery still unsolved. But more due to the ignorance of established science than to the interest of the people. 

Throughout human history, we have been trained to believe what we are told. Even more so if it is written in a holy book; there, above all, we must believe it. The written word does not lie.

If there is no evolution in man, as believers in pure creation without evolution say, here is the evidence that yes, the truth in the scriptures evolved. From interpretation to interpretation, a letter, a word, a story, and truth in general evolve. Nothing has changed as drastically as a written story, copied and interpreted again and again. Worse still are the translations. These depend on someone understanding at least two languages and comprehending something of the written meaning.

Well, let's return to this figure. I also try to interpret something carved a long time ago. But I will give an idea, nothing more, without missionizing anyone. 

I had to work, in my job as an agronomist, with many heavy machineries. Any tool and any spare part sounds familiar to me—like levers, bearings, washers, rivets, screws, nuts, and force transmissions in various forms: direct with cardan shafts, with chains, or hydraulic.

This is used for the movement of cranes, shovels, excavators, for steering, and for braking. In every tractor, there are small levers for the hydraulic part, for constant acceleration, or for fine adjustment of revolutions on some pulley.

I am not talking about joysticks like those in modern airplanes or cars for shifting. A small touch, and the change happens automatically, or the speed remains stable. Why do I talk so much about technology when we just talked about Pacal and the lid of his sarcophagus?  

Because the drawing has nothing crude of an indigenous person lost in the jungle.

Because the astronomical knowledge the Maya had has nothing crude of an indigenous person lost in the jungle.

Because carrying large, heavy stones from a place below, crossing rivers, and raising them to a mountain to place them firmly in a work that lasts thousands of years has nothing crude of an indigenous person lost in the jungle.

Because the knowledge to create phenomenal three-dimensional works of art, without recognized tools, is the work of an advanced people.

I dare to say: more advanced than us.  If we believe literally everything we are told, they would have been crude warriors. Nothing to do with fine hands and a brilliant mind.

Looking at the drawing, I see the opposite.

The face of this gentleman is fine, logically with the characteristics of this race. The nose, the shape of the head, and the eyes are unique to the Maya race.

But here, we are not qualifying one race or another, though what has been seen and said so far is more a praise. I continue with my description of this figure, and little by little, we will see more.  Look at his eyes. This individual is so concentrated on his work—whether flying a flying object or whatever, or manipulating an earthly machine for transport or movement of something.

All his senses are so alert, observing everything at once. He is an operator of some machine or land or air vehicle.

A man needs a lot of experience to automatically manipulate a sensor or instrument with one hand—be it an accelerator, a brake, a crane, or a joystick—and with the other hand perform another movement.

Even the feet have a lever to press from time to time.

Look how gently, and only with the tips of the fingers of his right hand, he touches the tip of a tube, which surely has a little wheel or something to turn carefully for an exact adjustment.

Nothing to do with heavy work and the crude grip of a heavy tool. It is about the use of the hand in a very sensitive movement. Together with his fixed gaze, observing surely how the vehicle reacts to the adjustment, it is clear that he is handling some kind of technological equipment. 

The man in the drawing, in turn, was observed by an extraordinarily skilled artist, who in turn made a snapshot in stone, like with a photographic apparatus.

There is no room to interpret something else or diminish its importance. If anything does not lie, it is the stone and the artist who wrote or carved what was seen.

Here we have the Lever carved in the Palenque sarcophagus lid.

This is a simple doser of something that must be regulated. It could be energy for the machine or a part of it.

It could also be a doser with pre-set measurement marks of a fluid or liquid, with a valve on the left side.  

We return to the operator. His eyes do not stop staring fixedly at an imagined point in front of him. That could be a monitor or through a window; we don't know.  What else can I observe? I see that it is some mechanics; there is no doubt. But what surprises me most is the artist who made this and, surely, many other works in stone.

As I said at the beginning, writings evolved. Not the letter, but the written meaning, but not in favor of truth. Copies of something written lose value, and truth degenerates to comic-book levels.

Something written, engraved, or a sculpture in stone does not evolve. Ever. Erosion can only erase something, but never replace something new in the place of origin. Reliefs and sculptures are the true writing and the only way to transfer data and facts to a future generation.  Then, we have here evidence of something that was truly seen. The sculptor does not waste time with fantasy drawings. What was observed manifests in a drawing in stone. I am surprised by the details that can be recognized: the nails on the fingers of the hand, on the toes. Everything drawn three-dimensionally. Here, something is wanted to be described. Here, something is wanted to be shown and preserved for generations far in the future.

This goal was achieved. But we, so overloaded with Hollywood cartoons, think that all civilizations wasted time on such comics, and that's why we first think of fantasy drawings instead of seeing something historical and real. It is ridiculous.  I continue a bit with the description of the drawing. Something interesting to observe: I speak of the man in unique clothing, in the style of his era. Elegant and only what is necessary. No protection, just some fashion details.

A personnel or operator of the era, and a technology used for something not entirely clear. Although the gods came from the stars, I don't think this Maya man, in his party or work clothing, represents a pilot of some airplane or advanced ship.

It is not that one cannot learn the handling with teaching, but airplanes, flying objects, are simply more advanced and require more protection for the pilot, more studies and training.

No one flies to the stars in shorts. In the case that a flying object has so many comforts to travel with little protective clothing, it will have greater technology to provide that comfort, and that obliges having pilots of a superior category.

Simply for that reason, I don't believe an airplane or something like that is being handled there.  Rather, it seems to me like a land vehicle, using a technology at the level of our tractors or a little more advanced, but not so much that we cannot understand its functioning. The fact that there is technology is already a sensation, and for many people, unbelievable. But the design does not lie. Not like black ink in newspapers, magazines, or sensationalist dailies.

Not like some news transmission companies via satellite or cable, which show the explosion of a nuclear bomb and talk about a fire. 

For me, it is indisputable evidence that there was a machine that moved, handled sitting on or inside it.

So efficient and so simple that an apprentice from Earth could handle it. The machine disappeared with the gods inside a ship, surely more advanced and piloted by true pilots. The art itself shown reflects a culture superior to what was imagined, and the design itself speaks in a compelling language of some technological object. There is no doubt about that.

The lever I show there is an interesting detail and indicates to me that it is a technology at our level or a little more advanced in some details, like the energy used.

 Maya hieroglyph of motor and energy

Why did they have a hieroglyph that describes an engine, the force, or energy? In another report, I will talk about another detail found in the same drawing: physical laws used and industrially manufactured artifacts. But that, next time.  

Josef Bauer

Wallpaper: Palenque Lever 1,024 x 768 Pixels

The video: la palanca de palenque/ the Lever of Palenque