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From Cosmic Theories to Urban Development Dr. Hossam Aboulfotouh |
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Architectonic Cosmic Theories Pyramids Researches: The Horizon Theory Part-1: Original Concept Plan of the Pyramids Plateau | Abstract | Full text.pdf || Full text.html |The Horizon Theory, Part-II: Internal Design Concept of the Great Pyramid | Abstract | Full text.pdf|| Full text.html | newSolar System Researches: Determining planetary spin and musical gravitation in the spheres of cosmic systems of perfect numbers | Abstract | Full text.pdf|| Full text.html |
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The eternal path in Gupora Temple; it is aligned towards the minimum real position of the Cancer orbit at 19.45 degree of arc; in photo, my son Mohamed Hossam Egyptian texts & Papyruses: The solar language and the ancient Egyptian Hieroglyphs Translation of the Arabic verse-version of Gupara Papyrus. Ahmes/Rhind mathematical papyrus and the architectonic family of numbers |
Hieroglyphs and the Ancient Egyptian Language Dr. Hossam Aboulfotouh, July 30, 2004 Background: Understanding how human beings communicate verbally and create their own languages is based on understanding the correlation between the ability of their sound system and the cosmic system to which they belong. We human beings the settlers of the complex system 28 [ Cs28], the pyramidal chromium system that was called the "Ben" system, or what is called now the solar system, can therefore pronounce only 28 different sounds; we call each sound a letter. Each letter is like a moving body in any Euclidean plane of the cosmic enclosure; the motion of each has only three directions, starting from the state of rest: forward, upward and downward. The letter B may be pronounced according to the mentioned sequence of motions as Bo, Ba and Be; its state of rest may be pronounced as Bh. Thus, each solar letter has originally four basic sounding possibilities according to its motion. The 28 letters of the solar system, including their original 112 sounding possibilities, are the basis of the solar language, the mother of all languages that have been created by man; it includes the roots of all languages of the humankind: in the past, at present, and in the future. Taking into consideration that some cultures have created other letters that each is composed of two solar letters, adding new composite letters to their alphabets. Besides, some civilizations did not use all of the 28 solar letters.The ancient Egyptian writing technique was created, as we believe, by the great architect Gupora the founder of the pyramids design theory and the designer of all pyramid-models found in Egypt. The reader will recognize that Gupora did create the simplest and the most flexible writing technique that could be used at any point in time, for writing any language of any civilization that lived, is living, or will live on Earth or elsewhere. Our methodology towards understanding and pronouncing Hieroglyphs is very different from any published approach on this subject, since we attempt to retrieve the original architectonic technique of the ancient Egyptian system of Hieroglyphs.Gupora, as an architectonician, used the architectonic technique for presenting graphically the ancient Egyptian letters, namely: plan, side-view or elevation of an observed object. The objects that he did use for denoting letters, are two types. The first is a noun-object that is observed in its normal state of rest (in the eye of an architectonician beholder, i.e., able to set the position of his eye at anywhere in the cosmic enclosure), e.g., falcon, dress, river, etc. Second an action-object that each is observed in a specific point in time (e.g., walking, eating, cultivating, etc). He used the three architectonic presentations for presenting graphically the letters of the noun-objects according to their normal state of rest, e.g., in side-view as a falcon, in elevation as a dress, or in plan as a river. However, he presented graphically the letters of the observed action-objects only in side-view, denoting the action in two-dimensional frame. Besides, he used two complementary letters: a ground-line and a cantilever in side-view, which should be pronounced after the letter of the object that stands above it. He did use, as well the composite forms that each contains two, three, or four letters, and that all of them should be pronounced. Contrary to the published approaches on this subject; there are no silent letters in Hieroglyphs. Besides, each letter has only one sound according to its state of motion; however, when specific mark(s) follow(s) any letter, it should be pronounced as a word, e.g., denoting a noun or an action. In this web page we will discuss and prove the above in more details via the following sub-themes. | |
UIA-WPAHR-V Programme Events: UIA-WPAHR-V's Conference 2004, Ideology abstract UIA-WPAHR-V's next conference Urban Studies: Urban Development Urban Economics Urban Management Urban Housing Urban Services Organizations: MU Minia University UIA International Union of Architects SEA Society of Egyptian Architects AKDN Aga Khan Development Network BA Bibliotheca Alexandrina
Artifacts and Architectural Heritage:
Rosetta Stone For students: Architecture Design Physical Planning Design Theories Housing & Houses Arabic/English poetry: Armageddon, the story, in English Hunting in the planet of the Apes Arabic/English Who am I? In Arabic The sound of "La", In Arabic |
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