Music in Ancient Egypt

Although music existed in prehistoric Egypt, the evidence for it becomes secure only in the historical (or "dynastic" or "pharaonic") period--after 3100 BCE. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and childbirth).

All the major categories of musical instruments (percussion, wind, stringed) were represented in pharaonic Egypt. Percussion instruments included hand-held drums, rattles, castanets, bells, and the sistrum--a highly important rattle used in religious worship. Hand clapping too was used as a rhythmic accompaniment. Wind instruments included flutes (double and single, with reeds and without) and trumpets. Stringed instruments included harps, lyres, and lutes--plucked rather than bowed. Instruments were frequently inscribed with the name of the owner and decorated with representations of the goddess (Hathor) or god (Bes) of music. Both male and female voices were also frequently used in Egyptian music.

Professional musicians existed on a number of social levels in ancient Egypt. Perhaps the highest status belonged to temple musicians; the office of "musician" (shemayet) to a particular god or goddess was a position of high status frequently held by women. Musicians connected with the royal household were held in high esteem, as were certain gifted singers and harp players. Somewhat lower on the social scale were musicians who acted as entertainers for parties and festivals, frequently accompanied by dancers. Informal singing is suggested by scenes of workers in action; captions to many of these pictures have been interpreted as words of songs. Otherwise there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals.

The ancient Egyptians did not notate their music before the Graeco-Roman period, so attempts to reconstruct pharaonic music remain speculative. Representational evidence can give a general idea of the sound of Egyptian music. Ritual temple music was largely a matter of the rattling of the sistrum, accompanied by voice, sometimes with harp and/or percussion. Party/festival scenes show ensembles of instruments (lyres, lutes, double and single reed flutes, clappers, drums) and the presence (or absence) of singers in a variety of situations.

Music in Ancient Egypt

Although music existed in prehistoric Egypt, the evidence for it becomes secure only in the historical (or "dynastic" or "pharaonic") period--after 3100 BCE. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and childbirth).

All the major categories of musical instruments (percussion, wind, stringed) were represented in pharaonic Egypt. Percussion instruments included hand-held drums, rattles, castanets, bells, and the sistrum--a highly important rattle used in religious worship. Hand clapping too was used as a rhythmic accompaniment. Wind instruments included flutes (double and single, with reeds and without) and trumpets. Stringed instruments included harps, lyres, and lutes--plucked rather than bowed. Instruments were frequently inscribed with the name of the owner and decorated with representations of the goddess (Hathor) or god (Bes) of music. Both male and female voices were also frequently used in Egyptian music.

Professional musicians existed on a number of social levels in ancient Egypt. Perhaps the highest status belonged to temple musicians; the office of "musician" (shemayet) to a particular god or goddess was a position of high status frequently held by women. Musicians connected with the royal household were held in high esteem, as were certain gifted singers and harp players. Somewhat lower on the social scale were musicians who acted as entertainers for parties and festivals, frequently accompanied by dancers. Informal singing is suggested by scenes of workers in action; captions to many of these pictures have been interpreted as words of songs. Otherwise there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals.

The ancient Egyptians did not notate their music before the Graeco-Roman period, so attempts to reconstruct pharaonic music remain speculative. Representational evidence can give a general idea of the sound of Egyptian music. Ritual temple music was largely a matter of the rattling of the sistrum, accompanied by voice, sometimes with harp and/or percussion. Party/festival scenes show ensembles of instruments (lyres, lutes, double and single reed flutes, clappers, drums) and the presence (or absence) of singers in a variety of situations.

THE VIMANAS - the Ancient Flying Machines

THE VIMANAS - the Ancient Flying Machines

There are references to flying machines in the temple carvings and in the ancient writings.

The images found on the ceiling beams of a 3000-year old New Kingdom Temple, located several hundred miles south of Cairo and the Giza Plateau, at Abydos resembles modern day Aircrafts.

Reference to ancient Indian flying vehicles comes from ancient Indian sources, many are the well known ancient Indian Epics, and there are literally hundreds of them. Most of them have not even been translated into English yet from the old sanskrit.

It is claimed that a few years ago, the Chinese discovered some sanskrit documents in Lhasa, Tibet and sent them to the University of Chandrigarh to be translated. Dr. Ruth Reyna of the University said recently that the documents contain directions for building interstellar spaceships!

Their method of propulsion, she said, was "anti-gravitational" and was based upon a system analogous to that of "laghima," the unknown power of the ego existing in man's physiological makeup, "a centrifugal force strong enough to counteract all gravitational pull."

According to Hindu Yogis, it is this "laghima" which enables a person to levitate. Dr. Reyna said that on board these machines, which were called "Astras" by the text, the ancient Indians could have sent a detachment of men onto any planet, according to the document, which is thought to be thousands of years old. The manuscripts were also said to reveal the secret of "antima"; "the cap of invisibility" and "garima"; "how to become as heavy as a mountain of lead."

19th Century Flying references

Shivkar Bapuji Talpade born in 1864, was a Sanskrit scholar. His birth place is Chirabazar at Dukkarwadi in Bombay. From his young age was attracted by the Vaimanika Sastra (Aeronautical Science) expounded by the great Indian sage Maharishi Bhardwaja.

One western scholar of Indology Stephen-Knapp has tried to explain what Talpade did. According to Knapp, the Vaimanika Shastra describes in detail, the construction of what is called, the mercury vortex engine the forerunner of the ion engines being made today.

Shivkur Bapuji Talpade's unmanned aircraft flew to a height of 1500 feet before crashing down and the historian. Knapp adds that additional information on the mercury engines can be found in the ancient Vedic text called Samaranga Sutradhara. This text also devotes 230 verses, to the use of these machines in peace and war.

The Indologist William Clarendon, who has written down a detailed description of the mercury vortex engine in his translation of Samaranga Sutradhara quotes thus ‘Inside the circular air frame, place the mercury-engine with its solar mercury boiler at the aircraft center. By means of the power latent in the heated mercury which sets the driving whirlwind in motion a man sitting inside may travel a great distance in a most marvelous manner.

Four strong mercury containers must be built into the interior structure. When these have been heated by fire through solar or other sources the vimana (aircraft) develops thunder-power through the mercury. It is also added that this success of an Indian scientist was not liked by the Imperial rulers. Warned by the British Government the Maharaja of Baroda stopped helping Talpade. His efforts to make known the greatness of Vedic Shastras was recognised by Indian scholars, who gave him the title of Vidya Prakash Pra-deep.

Anti-Gravity Studies

The Indian Emperor Ashoka started a "Secret Society of the Nine Unknown Men": great Indian scientists who were supposed to catalogue the many sciences. Ashoka kept their work secret because he was afraid that the advanced science catalogued by these men, culled from ancient Indian sources, would be used for the evil purpose of war, which Ashoka was strongly against, having been converted to Buddhism after defeating a rival army in a bloody battle. The "Nine Unknown Men" wrote a total of nine books, presumably one each.

Book number was "The Secrets of Gravitation!" This book, known to historians, but not actually seen by them dealt chiefly with "gravity control." It is presumably still around somewhere, kept in a secret library in India, Tibet or elsewhere (perhaps even in North America somewhere). One can certainly undertand Ashoka's reasoning for wanting to keep such knowledge a secret, assuming it exists. if the Nazis had such weapons at their disposal during World War II. Ashoka was also aware devastating wars using such advanced vehicles and other "futuristic weapons" that had destoryed the ancient Indian "Rama Empire" several thousand years before.

According to ancient Indian texts, the people had flying machines which were called "Vimanas." The ancient Indian epic describes a Vimana as a double-deck, circular aircraft with portholes and a dome, much as we would imagine a flying saucer. It flew with the "speed of the wind" and gave forth a "melodious sound." There were at least four different types of Vimanas; some saucer shaped, others like long cylinders ("cigar shaped airships").

In 1875, the Vaimanika Sastra, a fourth century B.C. text written by Bharadvajy the Wise, using even older texts as his source, was rediscovered in a temple in India. It dealt with the operation of Vimanas and included information on the steering, precautions for long flights, protection of the airships from storms and lightening and how to switch the drive to "solar energy" from a free energy source which sounds like "anti-gravity."

The Vaimanika Sastra (or Vymaanika-Shaastra) has eight chapters with diagrams, describing three types of aircraft, including apparatuses that could neither catch on fire nor break. It also mentions 31 essential parts of these vehicles and 16 materials from which they are constructed, which absorb light and heat; for which reason they were considered suitable for the construction of Vimanas.

This document has been translated into English and is available by writing the publisher: VYMAANIDASHAASTRA AERONAUTICS by Maharishi Bharadwaaja, translated into English and edited, printed and published by Mr. G. R. Josyer, Mysore, India, 1979. Mr. Josyer is the director of the International Academy of Sanskrit Investigation located in Mysore. There seems to be no doubt that Vimanas were powered by some sort of "anti-gravity." Vimanas took off vertically, and were .

Vimanas were kept in a Vimana Griha, a kind of hanger, and were sometimes said to be propelled by a yellowish-white liquid, and sometimes by some sort of mercury compound, though writers seem confused in this matter. It is most likely that the later writers on Vimanas, wrote as observers and from earlier texts, and were understandably confused on the princible of their propulsion. The "yellowishwhite liquid" sounds suspiciously like gasoline, and perhaps Vimanas had a number of different propulsion sources, including combustion engines and even "pulse-jet" engines.

It is interesting to note that when Alexander the Great invaded India more than two thousand years ago, his historians chronicled that at one point they were attacked by "flying, fiery shields" that dove at his army and frightened the cavalry. These "flying saucers" did not use any atomic bombs or beam weapons on Alexander's army however, perhaps out of benevolence, and Alexander went on to conquer India.

It is interesting to note, that the Nazis developed the first practical pulse-jet engines for their V-8 rocket "buzz bombs." Hitler and the Nazi staff were exceptionally interested in ancient India and Tibet and sent expeditions to both these places yearly, starting in the 30's, in order to gather esoteric evidence that they did so, and perhaps it was from these people that the Nazis gained some of their scientific information! According to the Dronaparva, part of the Mahabarata, and the Ramayana, one Vimana described was shaped like a sphere and born along at great speed on a mighty wind generated by mercury.

It moved like a UFO, going up, down, backwards and forewards as the pilot desired. In another Indian source, the Samar, Vimanas were "iron machines, well-knit and smooth, with a charge of mercury that shot out of the back in the form of a roaring flame." Another work called the Samaranganasutradhara describes how the vehicles were constructed. It is possible that mercury did have something to do with the propulsion, or more possibly, with the guidance system. Curiously, Soviet scientists have discovered what they call "age-old instruments used in navigating cosmic vehicles" in caves in Turkestan and the Gobi Desert.

The "devices" are hemispherical objects of glass or porcelain, ending in a cone with a drop of mercury inside. It is evident that ancient Indians flew around in these vehicles, all over Asia, to Atlantis presumably; and even, apparently, to South America. Writing found at Mohenjodaro in Pakistan (presumed to be one of the "Seven Rishi Cities of the Rama Empire") and still undeciphered, has also been found in one other place in the world: Easter Island! Writing on Easter Island, called Rongo-Rongo writing, is also undeciphered, and is uncannily similar to the Mohenjodaro script.

In the Mahavira of Bhavabhuti, a Jain text of the eighth century culled from older texts and traditions, we read: "An aerial chariot, the Pushpaka, conveys many people to the capital of Ayodhya. The sky is full of stupendous flying-machines, dark as night, but picked out by lights with a yellowish glare-"

The Vedas, ancient Hindu poems, thought to be the oldest of all the Indian texts, describe Vimanas of various shapes and sizes: the "ahnihotra-vimana" with two engines, the "elephant-vimana" with more engines, and other types named after the kingfisher, ibis and other animals.

Unfortunately, Vimanas, like most scientific discoveries, were ultimately used for war. Atlanteans used their flying machines, "Vailixi," a similar type of aircraft, to literally try and subjugate the world, it would seem, if Indian texts are to be believed. The Atlanteans, known as "Asvins" in the Indian writings, were apparently even more advanced technologically than the Indians, and certainly of a more war-like temperment. Although no ancient texts on Atlantean Vailixi are known to exist, some information has come down through esoteric, "occult" sources which describe their flying machines. Similar, if not identical to Vimanas, Vailixi were generally "cigar shaped" and had the capability of manuvering underwater as well as in the atmosphere or even outer space. Other vehicles, like Vimanas, were saucer shaped, and could apparently also be submerged.

According to Eklal Kueshana, author of "The Ultimate Frontier," in an article he wrote in 1966, Vailixi were first developed in Atlantis 20,000 years ago, and the most common ones are "saucershaped of generally trapezoidal cross-section with three hemispherical engine pods on the underside." "They use a mechanical antigravity device driven by engines developing approximately 80,000 horse power." The Ramayana, Mahabarata and other texts speak of the hideous war that took place, some ten or twelve thousand years ago between Atlantis and Rama using weapons of destruction that could not be imagined by readers until the second half of this century. The ancient Mahabharata, one of the sources on Vimanas, goes on to tell the awesome destructiveness of the war: "...(the weapon was) a single projectile charged with all the power of the Universe.

"ANCIENT VIMANA AIRCRAFT" - a Contribution by John Burrows Sanskrit texts are filled with references to gods who fought battles in the sky using Vimanas equipped with weapons as deadly as any we can deploy in these more enlightened times. For example, there is a passage in the Ramayana which reads: "The Puspaka car that resembles the Sun and belongs to my brother was brought by the powerful Ravan; that aerial and excellent car going everywhere at will .... that car resembling a bright cloud in the sky." ".. and the King [Rama] got in, and the excellent car at the command of the Raghira, rose up into the higher atmosphere."

In the Mahabharatra, an ancient Indian poem of enormous length, we learn that an individual named Asura Maya had a Vimana measuring twelve cubits in circumference, with four strong wheels. The poem is a veritable gold mine of information relating to conflicts between gods who settled their differences apparently using weapons as lethal as the ones we are capable of deploying. Apart from 'blazing missiles', the poem records the use of other deadly weapons. 'Indra's Dart' operated via a circular 'reflector'. When switched on, it produced a 'shaft of light' which, when focused on any target, immediately 'consumed it with its power'. In one particular exchange, the hero, Krishna, is pursuing his enemy, Salva, in the sky, when Salva's Vimana, the Saubha is made invisible in some way. Undeterred, Krishna immediately fires off a special weapon: 'I quickly laid on an arrow, which killed by seeking out sound'.

Many other terrible weapons are described, quite matter of factly, in the Mahabharata, but the most fearsome of all is the one used against the Vrishis. The narrative records: "Gurkha flying in his swift and powerful Vimana hurled against the three cities of the Vrishis and Andhakas a single projectile charged with all the power of the Universe. An incandescent column of smoke and fire, as brilliant as ten thousands suns, rose in all its splendour. It was the unknown weapon, the Iron Thunderbolt, a gigantic messenger of death which reduced to ashes the entire race of the Vrishnis and Andhakas." It is important to note, that these kinds of records are not isolated. They can be cross-correlated with similiar reports in other ancient civilizations.

The after-affects of this Iron Thunderbolt have an ominously recognizable ring. Apparently, those killed by it were so burnt that their corpses were unidentifiable. The survivors fared little etter, as it caused their hair and nails to fall out. Perhaps the most disturbing and challenging, information about these allegedly mythical Vimanas in the ancient records is that there are some matter-of-fact records, describing how to build one. In their way, the instructions are quite precise. In the Sanskrit Samarangana Sutradhara, it is written: "Strong and durable must the body of the Vimana be made, like a great flying bird of light material. Inside one must put the mercury engine with its iron heating apparatus underneath. By means of the power latent in the mecrcury which sets the driving whirlwind in motion, a man sitting inside may travel a great distance in the sky. The movements of the Vimana are such that it can vertically ascend, vertically descend, move slanting forwards and backwards. With the help of the machines human beings can fly in the air and heavenly beings can come down to earth."

The Hakatha (Laws of the Babylonians) states quite unambiguously: "The privilege of operating a flying machine is great. The knowledge of flight is among the most ancient of our inheritances. A gift from 'those from upon high'. We received it from them as a means of saving many lives." More fantastic still is the information given in the ancient Chaldean work, The Sifrala, which contains over one hundred pages of technical details on building a flying machine. It contains words which translate as graphite rod, copper coils, crystal indicator, vibrating spheres, stable angles, etc.

Ancient Indian Aircraft Technology From The Anti-Gravity Handbook by D. Hatcher Childress Many researchers into the UFO enigma tend to overlook a very important fact. While it assumed that most flying saucers are of alien, or perhaps Governmental Military origin, another possible origin of UFOs is ancient India and Atlantis. What we know about ancient Indian flying vehicles comes from ancient Indian sources; written texts that have come down to us through the centuries. There is no doubt that most of these texts are authentic; many are the well known ancient Indian Epics themselves, and there are literally hundreds of them. Most of them have not even been translated into English yet from the old sanskrit.

THE VIMANAS - the Ancient Flying Machines

THE VIMANAS - the Ancient Flying Machines

There are references to flying machines in the temple carvings and in the ancient writings.

The images found on the ceiling beams of a 3000-year old New Kingdom Temple, located several hundred miles south of Cairo and the Giza Plateau, at Abydos resembles modern day Aircrafts.

Reference to ancient Indian flying vehicles comes from ancient Indian sources, many are the well known ancient Indian Epics, and there are literally hundreds of them. Most of them have not even been translated into English yet from the old sanskrit.

It is claimed that a few years ago, the Chinese discovered some sanskrit documents in Lhasa, Tibet and sent them to the University of Chandrigarh to be translated. Dr. Ruth Reyna of the University said recently that the documents contain directions for building interstellar spaceships!

Their method of propulsion, she said, was "anti-gravitational" and was based upon a system analogous to that of "laghima," the unknown power of the ego existing in man's physiological makeup, "a centrifugal force strong enough to counteract all gravitational pull."

According to Hindu Yogis, it is this "laghima" which enables a person to levitate. Dr. Reyna said that on board these machines, which were called "Astras" by the text, the ancient Indians could have sent a detachment of men onto any planet, according to the document, which is thought to be thousands of years old. The manuscripts were also said to reveal the secret of "antima"; "the cap of invisibility" and "garima"; "how to become as heavy as a mountain of lead."

19th Century Flying references

Shivkar Bapuji Talpade born in 1864, was a Sanskrit scholar. His birth place is Chirabazar at Dukkarwadi in Bombay. From his young age was attracted by the Vaimanika Sastra (Aeronautical Science) expounded by the great Indian sage Maharishi Bhardwaja.

One western scholar of Indology Stephen-Knapp has tried to explain what Talpade did. According to Knapp, the Vaimanika Shastra describes in detail, the construction of what is called, the mercury vortex engine the forerunner of the ion engines being made today.

Shivkur Bapuji Talpade's unmanned aircraft flew to a height of 1500 feet before crashing down and the historian. Knapp adds that additional information on the mercury engines can be found in the ancient Vedic text called Samaranga Sutradhara. This text also devotes 230 verses, to the use of these machines in peace and war.

The Indologist William Clarendon, who has written down a detailed description of the mercury vortex engine in his translation of Samaranga Sutradhara quotes thus ‘Inside the circular air frame, place the mercury-engine with its solar mercury boiler at the aircraft center. By means of the power latent in the heated mercury which sets the driving whirlwind in motion a man sitting inside may travel a great distance in a most marvelous manner.

Four strong mercury containers must be built into the interior structure. When these have been heated by fire through solar or other sources the vimana (aircraft) develops thunder-power through the mercury. It is also added that this success of an Indian scientist was not liked by the Imperial rulers. Warned by the British Government the Maharaja of Baroda stopped helping Talpade. His efforts to make known the greatness of Vedic Shastras was recognised by Indian scholars, who gave him the title of Vidya Prakash Pra-deep.

Anti-Gravity Studies

The Indian Emperor Ashoka started a "Secret Society of the Nine Unknown Men": great Indian scientists who were supposed to catalogue the many sciences. Ashoka kept their work secret because he was afraid that the advanced science catalogued by these men, culled from ancient Indian sources, would be used for the evil purpose of war, which Ashoka was strongly against, having been converted to Buddhism after defeating a rival army in a bloody battle. The "Nine Unknown Men" wrote a total of nine books, presumably one each.

Book number was "The Secrets of Gravitation!" This book, known to historians, but not actually seen by them dealt chiefly with "gravity control." It is presumably still around somewhere, kept in a secret library in India, Tibet or elsewhere (perhaps even in North America somewhere). One can certainly undertand Ashoka's reasoning for wanting to keep such knowledge a secret, assuming it exists. if the Nazis had such weapons at their disposal during World War II. Ashoka was also aware devastating wars using such advanced vehicles and other "futuristic weapons" that had destoryed the ancient Indian "Rama Empire" several thousand years before.

According to ancient Indian texts, the people had flying machines which were called "Vimanas." The ancient Indian epic describes a Vimana as a double-deck, circular aircraft with portholes and a dome, much as we would imagine a flying saucer. It flew with the "speed of the wind" and gave forth a "melodious sound." There were at least four different types of Vimanas; some saucer shaped, others like long cylinders ("cigar shaped airships").

In 1875, the Vaimanika Sastra, a fourth century B.C. text written by Bharadvajy the Wise, using even older texts as his source, was rediscovered in a temple in India. It dealt with the operation of Vimanas and included information on the steering, precautions for long flights, protection of the airships from storms and lightening and how to switch the drive to "solar energy" from a free energy source which sounds like "anti-gravity."

The Vaimanika Sastra (or Vymaanika-Shaastra) has eight chapters with diagrams, describing three types of aircraft, including apparatuses that could neither catch on fire nor break. It also mentions 31 essential parts of these vehicles and 16 materials from which they are constructed, which absorb light and heat; for which reason they were considered suitable for the construction of Vimanas.

This document has been translated into English and is available by writing the publisher: VYMAANIDASHAASTRA AERONAUTICS by Maharishi Bharadwaaja, translated into English and edited, printed and published by Mr. G. R. Josyer, Mysore, India, 1979. Mr. Josyer is the director of the International Academy of Sanskrit Investigation located in Mysore. There seems to be no doubt that Vimanas were powered by some sort of "anti-gravity." Vimanas took off vertically, and were .

Vimanas were kept in a Vimana Griha, a kind of hanger, and were sometimes said to be propelled by a yellowish-white liquid, and sometimes by some sort of mercury compound, though writers seem confused in this matter. It is most likely that the later writers on Vimanas, wrote as observers and from earlier texts, and were understandably confused on the princible of their propulsion. The "yellowishwhite liquid" sounds suspiciously like gasoline, and perhaps Vimanas had a number of different propulsion sources, including combustion engines and even "pulse-jet" engines.

It is interesting to note that when Alexander the Great invaded India more than two thousand years ago, his historians chronicled that at one point they were attacked by "flying, fiery shields" that dove at his army and frightened the cavalry. These "flying saucers" did not use any atomic bombs or beam weapons on Alexander's army however, perhaps out of benevolence, and Alexander went on to conquer India.

It is interesting to note, that the Nazis developed the first practical pulse-jet engines for their V-8 rocket "buzz bombs." Hitler and the Nazi staff were exceptionally interested in ancient India and Tibet and sent expeditions to both these places yearly, starting in the 30's, in order to gather esoteric evidence that they did so, and perhaps it was from these people that the Nazis gained some of their scientific information! According to the Dronaparva, part of the Mahabarata, and the Ramayana, one Vimana described was shaped like a sphere and born along at great speed on a mighty wind generated by mercury.

It moved like a UFO, going up, down, backwards and forewards as the pilot desired. In another Indian source, the Samar, Vimanas were "iron machines, well-knit and smooth, with a charge of mercury that shot out of the back in the form of a roaring flame." Another work called the Samaranganasutradhara describes how the vehicles were constructed. It is possible that mercury did have something to do with the propulsion, or more possibly, with the guidance system. Curiously, Soviet scientists have discovered what they call "age-old instruments used in navigating cosmic vehicles" in caves in Turkestan and the Gobi Desert.

The "devices" are hemispherical objects of glass or porcelain, ending in a cone with a drop of mercury inside. It is evident that ancient Indians flew around in these vehicles, all over Asia, to Atlantis presumably; and even, apparently, to South America. Writing found at Mohenjodaro in Pakistan (presumed to be one of the "Seven Rishi Cities of the Rama Empire") and still undeciphered, has also been found in one other place in the world: Easter Island! Writing on Easter Island, called Rongo-Rongo writing, is also undeciphered, and is uncannily similar to the Mohenjodaro script.

In the Mahavira of Bhavabhuti, a Jain text of the eighth century culled from older texts and traditions, we read: "An aerial chariot, the Pushpaka, conveys many people to the capital of Ayodhya. The sky is full of stupendous flying-machines, dark as night, but picked out by lights with a yellowish glare-"

The Vedas, ancient Hindu poems, thought to be the oldest of all the Indian texts, describe Vimanas of various shapes and sizes: the "ahnihotra-vimana" with two engines, the "elephant-vimana" with more engines, and other types named after the kingfisher, ibis and other animals.

Unfortunately, Vimanas, like most scientific discoveries, were ultimately used for war. Atlanteans used their flying machines, "Vailixi," a similar type of aircraft, to literally try and subjugate the world, it would seem, if Indian texts are to be believed. The Atlanteans, known as "Asvins" in the Indian writings, were apparently even more advanced technologically than the Indians, and certainly of a more war-like temperment. Although no ancient texts on Atlantean Vailixi are known to exist, some information has come down through esoteric, "occult" sources which describe their flying machines. Similar, if not identical to Vimanas, Vailixi were generally "cigar shaped" and had the capability of manuvering underwater as well as in the atmosphere or even outer space. Other vehicles, like Vimanas, were saucer shaped, and could apparently also be submerged.

According to Eklal Kueshana, author of "The Ultimate Frontier," in an article he wrote in 1966, Vailixi were first developed in Atlantis 20,000 years ago, and the most common ones are "saucershaped of generally trapezoidal cross-section with three hemispherical engine pods on the underside." "They use a mechanical antigravity device driven by engines developing approximately 80,000 horse power." The Ramayana, Mahabarata and other texts speak of the hideous war that took place, some ten or twelve thousand years ago between Atlantis and Rama using weapons of destruction that could not be imagined by readers until the second half of this century. The ancient Mahabharata, one of the sources on Vimanas, goes on to tell the awesome destructiveness of the war: "...(the weapon was) a single projectile charged with all the power of the Universe.

"ANCIENT VIMANA AIRCRAFT" - a Contribution by John Burrows Sanskrit texts are filled with references to gods who fought battles in the sky using Vimanas equipped with weapons as deadly as any we can deploy in these more enlightened times. For example, there is a passage in the Ramayana which reads: "The Puspaka car that resembles the Sun and belongs to my brother was brought by the powerful Ravan; that aerial and excellent car going everywhere at will .... that car resembling a bright cloud in the sky." ".. and the King [Rama] got in, and the excellent car at the command of the Raghira, rose up into the higher atmosphere."

In the Mahabharatra, an ancient Indian poem of enormous length, we learn that an individual named Asura Maya had a Vimana measuring twelve cubits in circumference, with four strong wheels. The poem is a veritable gold mine of information relating to conflicts between gods who settled their differences apparently using weapons as lethal as the ones we are capable of deploying. Apart from 'blazing missiles', the poem records the use of other deadly weapons. 'Indra's Dart' operated via a circular 'reflector'. When switched on, it produced a 'shaft of light' which, when focused on any target, immediately 'consumed it with its power'. In one particular exchange, the hero, Krishna, is pursuing his enemy, Salva, in the sky, when Salva's Vimana, the Saubha is made invisible in some way. Undeterred, Krishna immediately fires off a special weapon: 'I quickly laid on an arrow, which killed by seeking out sound'.

Many other terrible weapons are described, quite matter of factly, in the Mahabharata, but the most fearsome of all is the one used against the Vrishis. The narrative records: "Gurkha flying in his swift and powerful Vimana hurled against the three cities of the Vrishis and Andhakas a single projectile charged with all the power of the Universe. An incandescent column of smoke and fire, as brilliant as ten thousands suns, rose in all its splendour. It was the unknown weapon, the Iron Thunderbolt, a gigantic messenger of death which reduced to ashes the entire race of the Vrishnis and Andhakas." It is important to note, that these kinds of records are not isolated. They can be cross-correlated with similiar reports in other ancient civilizations.

The after-affects of this Iron Thunderbolt have an ominously recognizable ring. Apparently, those killed by it were so burnt that their corpses were unidentifiable. The survivors fared little etter, as it caused their hair and nails to fall out. Perhaps the most disturbing and challenging, information about these allegedly mythical Vimanas in the ancient records is that there are some matter-of-fact records, describing how to build one. In their way, the instructions are quite precise. In the Sanskrit Samarangana Sutradhara, it is written: "Strong and durable must the body of the Vimana be made, like a great flying bird of light material. Inside one must put the mercury engine with its iron heating apparatus underneath. By means of the power latent in the mecrcury which sets the driving whirlwind in motion, a man sitting inside may travel a great distance in the sky. The movements of the Vimana are such that it can vertically ascend, vertically descend, move slanting forwards and backwards. With the help of the machines human beings can fly in the air and heavenly beings can come down to earth."

The Hakatha (Laws of the Babylonians) states quite unambiguously: "The privilege of operating a flying machine is great. The knowledge of flight is among the most ancient of our inheritances. A gift from 'those from upon high'. We received it from them as a means of saving many lives." More fantastic still is the information given in the ancient Chaldean work, The Sifrala, which contains over one hundred pages of technical details on building a flying machine. It contains words which translate as graphite rod, copper coils, crystal indicator, vibrating spheres, stable angles, etc.

Ancient Indian Aircraft Technology From The Anti-Gravity Handbook by D. Hatcher Childress Many researchers into the UFO enigma tend to overlook a very important fact. While it assumed that most flying saucers are of alien, or perhaps Governmental Military origin, another possible origin of UFOs is ancient India and Atlantis. What we know about ancient Indian flying vehicles comes from ancient Indian sources; written texts that have come down to us through the centuries. There is no doubt that most of these texts are authentic; many are the well known ancient Indian Epics themselves, and there are literally hundreds of them. Most of them have not even been translated into English yet from the old sanskrit.

Getting Wasted in Ancient Egypt

Today, in Egypt, good Muslims usually never drink alcoholic beverages, and for other Egyptians who do drink, or for that matter, tourists at least outside of purely tourist areas, getting intoxicated is considered very bad form. This really isn't very unique to Egypt. It seems that those who drink to excess anywhere are not looked upon with favor. But these are relatively late moral sensibilities that did not so much exist in the ancient world. Not that open drunkenness was unconditionally excepted in ancient Egypt. The state of intoxication by drinking alcoholic beverages could be viewed with either approval or disapproval, depending on the context. Texts from monuments and literature sometimes record king's, often in solitude, enjoyment of intoxication, which is also evidenced by Old Kingdom workers' names such as Khufu-is-drunk, Menkaure-is-drunk or Sahure-is-drunk.

Since beer, and to a lesser extent, wine, were a common part of the diet of ancient Egyptians, they were of course familiar with the aftereffects of these beverages. Losing control through excessive drinking was discouraged, though this disapproval was aimed more at the loss of control rather than the state of intoxication itself. An excessive level of intoxication, leading to a loss of control, was looked upon with varying degrees of mild disapproval. The drunken person was viewed mostly with amused contempt or slight alarm, while efforts were made to warn the young against getting drunk too much or too often.

During the New Kingdom, images of guests vomiting at banquets and parties were depicted in scenes of the elite, particularly during the 18th Dynasty. These include the Theban tombs of Djeserkaraseneb (38) and Neferhotep (49). Textual sources reflect concern over the undisciplined behavior that could arise from intoxication. In the Maxims of Any, the author sites hurting oneself, childish behavior and the disapproval of companions as a few of the dangers of excessive drinking, while another document known as the Miscellanies warns against injuring others and having sex with prostitutes while drunk. This composition likens a drunken man to a boat with a crooked steering-oar, a house without bread and even a shrine without its god. Other documents from the New Kingdom also associate violence and prostitution with intoxication. Sources from later periods show similar concerns. Demotic wisdom texts warn of the aftermath of drinking, both physical and mental, while the Demotic tale of Amasis shows that even kings were not exempt from the results of too much drinking.

Nevertheless, intoxication was considered good, and even desirable in many contexts. It was considered an enhancer of pleasure and companionship as well as a means of communion with the dead and the gods.

The Egyptian word for intoxication or drunkenness, "tht" is derived from the verb, "Thi", to be drunk, which is also the root of the words for a habitual drinker or drunkard, "thw". It also gives us the word for confused, "thth". Other common terms related to intoxication include the verb "nwh", which means to be or become drunk and the terms for drinking party, "'t hnkt", literally meaning "beer-house", "mswr", originally meaning a drinking bowl but later a drinking place and "st n thy", meaning a place of intoxication.

Of course, the ancient Egyptians believed in balance and so moderation was even then considered important in drinking, as well as other aspects of life. Intoxication was acceptable in a variety of contexts, if not taken to extremes. Though most of our evidence about the ancient Egyptian's attitude about intoxication comes from New Kingdom sources, earlier and later material seem to suggest a certain consistency across time.

Intoxication was used as a form of anesthesia in medical procedures and is known from medical texts, but far more sources attest to drinking for pleasure. Songs, love poems, stories and even wisdom texts describe the joys of intoxication, either for the pure pleasure of it, or the conviviality it inspires. Among common Egyptians, drunkenness is often associated with seduction and sexual activities, but is more commonly seen in parties and banquets and other social life. Drinking parties were considered an ideal leisure activity by the Egyptians, though more so in reference to elites than to members of the lower classes. However, even the most informal social gatherings in ancient Egypt among friends and neighbors frequently resulted in some degree of drunkenness.

Particularly evident are the banquets, often depicted in somewhat idealized and symbolic form, in 18th Dynasty tombs, where both men and women enjoyed intoxication accompanied by feasting, dancing and music. The banquets specifically associated with funerary rites were believed to permit communion with the sprit of the deceased, as well as the gods, and were by no means considered a sign of disrespect.

Of course, intoxication could also have religious implications. Even the gods were thought to become drunk on occasions. Specifically, in the Book of the Heavenly Cow, Hathor (as the eye of Re) is tricked into drunkenness through the use of beer dyed red to look like blood in order to avert the destruction of mankind. In fact, because of this myth, together with her association with music, dancing and pleasure, Hathor was sometimes known as the "Mistress of Intoxication". However, other goddesses, including Mut, Sekhmet, Tefnut, Bastet and the beer goddess Menqet, were also associated with drunkenness. Certain religious festivals are also linked with intoxication. These include the well known great Valley and Opet Festivals, as well as two well named events called the Festival of Intoxication and the Festival of the Offering of Intoxication.

In fact, voluntary abstention from alcohol was unusual, and was seen as making a serious statement. Therefore, during the Third Intermediate Period, on the stela of Piya, Tefnakhte abstains from drinking as a gesture of contrition. Furthermore, some texts even mourn the time when, either due to old age or death, a person is unable to drink.

As time wound down for the empire of the the pharaohs, Greek writers such as Herodotus and Athenaeus often described what they saw as the prevalence of excessive drinking in Egypt and reflected on the cultural differences between Egyptians and Greeks with regard to the contents and amounts of alcohol consumption. Along with Christianity also came, for the first time a predominantly negative attitude towards intoxication and signaled the end of a long era of intoxication in ancient Egypt.

Getting Wasted in Ancient Egypt

Today, in Egypt, good Muslims usually never drink alcoholic beverages, and for other Egyptians who do drink, or for that matter, tourists at least outside of purely tourist areas, getting intoxicated is considered very bad form. This really isn't very unique to Egypt. It seems that those who drink to excess anywhere are not looked upon with favor. But these are relatively late moral sensibilities that did not so much exist in the ancient world. Not that open drunkenness was unconditionally excepted in ancient Egypt. The state of intoxication by drinking alcoholic beverages could be viewed with either approval or disapproval, depending on the context. Texts from monuments and literature sometimes record king's, often in solitude, enjoyment of intoxication, which is also evidenced by Old Kingdom workers' names such as Khufu-is-drunk, Menkaure-is-drunk or Sahure-is-drunk.

Since beer, and to a lesser extent, wine, were a common part of the diet of ancient Egyptians, they were of course familiar with the aftereffects of these beverages. Losing control through excessive drinking was discouraged, though this disapproval was aimed more at the loss of control rather than the state of intoxication itself. An excessive level of intoxication, leading to a loss of control, was looked upon with varying degrees of mild disapproval. The drunken person was viewed mostly with amused contempt or slight alarm, while efforts were made to warn the young against getting drunk too much or too often.

During the New Kingdom, images of guests vomiting at banquets and parties were depicted in scenes of the elite, particularly during the 18th Dynasty. These include the Theban tombs of Djeserkaraseneb (38) and Neferhotep (49). Textual sources reflect concern over the undisciplined behavior that could arise from intoxication. In the Maxims of Any, the author sites hurting oneself, childish behavior and the disapproval of companions as a few of the dangers of excessive drinking, while another document known as the Miscellanies warns against injuring others and having sex with prostitutes while drunk. This composition likens a drunken man to a boat with a crooked steering-oar, a house without bread and even a shrine without its god. Other documents from the New Kingdom also associate violence and prostitution with intoxication. Sources from later periods show similar concerns. Demotic wisdom texts warn of the aftermath of drinking, both physical and mental, while the Demotic tale of Amasis shows that even kings were not exempt from the results of too much drinking.

Nevertheless, intoxication was considered good, and even desirable in many contexts. It was considered an enhancer of pleasure and companionship as well as a means of communion with the dead and the gods.

The Egyptian word for intoxication or drunkenness, "tht" is derived from the verb, "Thi", to be drunk, which is also the root of the words for a habitual drinker or drunkard, "thw". It also gives us the word for confused, "thth". Other common terms related to intoxication include the verb "nwh", which means to be or become drunk and the terms for drinking party, "'t hnkt", literally meaning "beer-house", "mswr", originally meaning a drinking bowl but later a drinking place and "st n thy", meaning a place of intoxication.

Of course, the ancient Egyptians believed in balance and so moderation was even then considered important in drinking, as well as other aspects of life. Intoxication was acceptable in a variety of contexts, if not taken to extremes. Though most of our evidence about the ancient Egyptian's attitude about intoxication comes from New Kingdom sources, earlier and later material seem to suggest a certain consistency across time.

Intoxication was used as a form of anesthesia in medical procedures and is known from medical texts, but far more sources attest to drinking for pleasure. Songs, love poems, stories and even wisdom texts describe the joys of intoxication, either for the pure pleasure of it, or the conviviality it inspires. Among common Egyptians, drunkenness is often associated with seduction and sexual activities, but is more commonly seen in parties and banquets and other social life. Drinking parties were considered an ideal leisure activity by the Egyptians, though more so in reference to elites than to members of the lower classes. However, even the most informal social gatherings in ancient Egypt among friends and neighbors frequently resulted in some degree of drunkenness.

Particularly evident are the banquets, often depicted in somewhat idealized and symbolic form, in 18th Dynasty tombs, where both men and women enjoyed intoxication accompanied by feasting, dancing and music. The banquets specifically associated with funerary rites were believed to permit communion with the sprit of the deceased, as well as the gods, and were by no means considered a sign of disrespect.

Of course, intoxication could also have religious implications. Even the gods were thought to become drunk on occasions. Specifically, in the Book of the Heavenly Cow, Hathor (as the eye of Re) is tricked into drunkenness through the use of beer dyed red to look like blood in order to avert the destruction of mankind. In fact, because of this myth, together with her association with music, dancing and pleasure, Hathor was sometimes known as the "Mistress of Intoxication". However, other goddesses, including Mut, Sekhmet, Tefnut, Bastet and the beer goddess Menqet, were also associated with drunkenness. Certain religious festivals are also linked with intoxication. These include the well known great Valley and Opet Festivals, as well as two well named events called the Festival of Intoxication and the Festival of the Offering of Intoxication.

In fact, voluntary abstention from alcohol was unusual, and was seen as making a serious statement. Therefore, during the Third Intermediate Period, on the stela of Piya, Tefnakhte abstains from drinking as a gesture of contrition. Furthermore, some texts even mourn the time when, either due to old age or death, a person is unable to drink.

As time wound down for the empire of the the pharaohs, Greek writers such as Herodotus and Athenaeus often described what they saw as the prevalence of excessive drinking in Egypt and reflected on the cultural differences between Egyptians and Greeks with regard to the contents and amounts of alcohol consumption. Along with Christianity also came, for the first time a predominantly negative attitude towards intoxication and signaled the end of a long era of intoxication in ancient Egypt.