THE PYRAMIDS of the COLD • Chapter 12 How the breaking-off of the pressure sensitive mechanical fuse Bes triggered the draining of the Great Pyramid's inclined well

In summary: in previous chapter we’ve seen how the Taweret plug of the inclined well of the Great Pyramid has been immobilized during the entire operating time of the Pyramid by a tiny little block of granite that has been glorified into the Bes and Beset deities, and now we're gonna see why this anchor block that also functioned like some kind of breakable mechanical fuse was there in the first place and why did Bes have such importance among all Egyptian deities by being the One to resist to the pressure of the 33,600 litres of water that contained the inclined well.

Beset was really important because she anchored Bes into the floor of the well, but of course it is Bes who got all the attention, because not only was He the One to resist to the pressure, but He was also the One to release that pressure and He was the One to release the waters as well; and that particular part about Bes, is the reason why King Tutankhamun put two figures of Bes at the back of his chariots: these figures weren't 'protecting' figures, you don't put 'protective' figures at the back of your chariot and looking backwards; if these Bes figures were meant to be protective figures they would have been at the bow, and they would have look forwards, just like any figurehead on ships.

With these Bes figures, Tutankhamun only wanted to use the power of Bes: his power of having control on pressurized water. In other words, King Tut's chariots were absolutely not 'ceremonial' chariots, but they were racing chariots, like it is indeed claimed by many engineers who have worked on the technology displayed on these chariots. Everybody knows about jet skis or watercrafts, well Tutankhamun also knew about them, or rather he knew about the idea of using pressurized water to generate movement.

Operating diagram of the Great Pyramid of Khufu for flash-evaporative cold production, showing the inclined well which was responsible to produce the necessary pressurized water. When it was time to shutdown the Pyramid, it was also time to drain the waters of the well so that the so-called 'ascending passage' could become the 'descending passage', used to evacuate everything that would have been operated in the Pyramid.

Māori ceremonial dance Haka performers are replicating Bes' posture and gestures: the "I won't move attitude", the 'tongue out' and the cutting knife. What Haka performers are saying to their adversaries is simple: "I'm invincible, I'am unmovable, you'll not pass through me". [illustration] the All Blacks, performing the 'Kapa o Pango' (a pre-match haka) at the rugby world cup 2011 New Zealand vs Argentina, thanks to Jean-Francois Beausejour: https://commons.wikimedia.org/wiki/File:Rugby_world_cup_2011_NEW_ZEALAND_ARGENTINA_(7309674588).jpg

12.01  The posture of Bes claiming he will not move an inch and its destruction by the knife metaphor

All along this study, there is one very disturbing thing that progressively emerged: not only the ancient Egyptian religion is entirely based on the glorification of what Egyptian scientists, physicians and engineers had accomplished within the very beginning of the pharaonic era, but this extraordinary ‘coverage’ and ‘transformation’ of science and technology into a domestic religion also exported itself into many different civilizations of the ancient world. This is not a hypothesis, this is documented and absolutely certain: it happened in ancient India by creating the Hindu mythology, it happened in ancient Tibet and it also was the origin of the creation of the Norse mythology as well as the Jewish religion itself. Again, I’m very sorry if anyone feels offended by this affirmation, but it’s just the way it is.

Here, this is in the Māori culture that we can find evidence of the influence that ancient Egyptians had all over the ancient world: for some reason, the Māori incorporated in their tradition the Egyptian god Bes, and it clearly shows in the famous Māori ceremonial dance Haka, performed by the All Blacks rugby team for example. This is really astonishing that there isn’t a consensus among historians to accept that the posture adopted by the Māori Haka performers are perfectly replicating every single attitude of the Egyptian god Bes; and yet it really is the same thing:

• the posture saying “I’m invincible, I’m unmovable, no one can pass me”

• the gesture of sticking the tongue out

• the gesture of using a cutting knife

12.02  The breaking of the Bes anchor block and the release of the Taweret plug: knives = cut = break

This is breathtaking to think that during the entire operation of the Great Pyramid, the Taweret plug was actually only maintained in position by a temporary anchor block and like in many occasions, ancient Egyptians used metaphors to depict this release: the most important thing about Bes is his posture directly facing you and saying "I'm unmovable", with strong arms and strong legs, but if you take these elements out of the way, if you cut out his four limbs, then there is no more posture anymore: the Bes anchor block has been broken off, and the Taweret plug has been released.

In short, by cutting off every single arm and leg, Bes' posture disappear and he isn't able to immobilize Taweret anymore. 

Haka performers replicating the throat slitting gesture of the ancient Egyptian Bes deity. The 'throat slitting' gesture done by the Māori Haka performers, has been completely misunderstood, because it really is a 'throat slitting' gesture! But it is absolutely not a provocation towards adversaries: it is a gesture towards themselves. By 'throat slitting' themselves, the Māori Haka performers are only replicating the gesture that Bes is doing by holding his knife over the head, as a metaphor of the breaking-off of himself. Haka performers are only cutting off their own heads: there is no taunt of any kind towards their competitors in that gesture.

12.03  The "throat slitting" gesture done by Haka performers really is about throat slitting, but it is about themselves

Another strong similarity is the famous 'throat slitting' misunderstood gesture that the Haka performers are doing at the very end of the 'Kapa o Pango'.

"Kapa o Pango" concludes with a gesture which, according to Lardelli, represents "drawing vital energy into the heart and lungs". The gesture has been interpreted as a "throat slitting" gesture that led to accusations that "Kapa o Pango" encourages violence, and sends the wrong message to All Blacks fans." https://en.wikipedia.org/wiki/Kapa_o_Pango

If Lardelli is wrong about his interpretation of the 'throat slitting' gesture, nethertheless it is absolutely not a violence reference aimed to Māori competitors. Once again, the Haka performers are reproducing the story of the draining of the inclined well of the Great Pyramid of Khufu: during all the performance they are showing their strength, they are saying that they will not move an inch, that nobody will pass through them, but at the end, they let it go and they are using the exact same knife metaphor that the one used for Bes. The cutting knives and the 'throat slitting' only are metaphors for the breaking-off of the anchor block.

Bes, the temporary anchor block was responsible of the draining of the well, he took all the water out of the well and he was worshiped as the god who was responsible of getting all demons out of households. When Haka performers are 'throat slitting' themselves, they are considering their adversaries as demons who should only stay away from their part of the field. That is the real profound meaning of the Haka. To summarize:

• Haka performers are reproducing the same posture as Bes: "I'm unmovable, you won't pass through me".

• Haka performers are reproducing the sticking tongue of Bes: the spitting water reference (?)

• Haka performers are reproducing the cutting-off of their upper part: the release of the Taweret block

Don't ask me why and how Māori people did, in some ways, honor and celebrate the ancient Egyptian religion, but the facts are here: the Haka is all referring to the Great Pyramid and the strong role of the Bes anchor block.

Please note that when represented with the four knives and the Sa symbol, Bes is not facing frontwards anymore: his anchoring capability has been broken off by the four knives.

Above Bes-image on the right, from the right panel of triptych on footboard of bed (CG 51109) in KV46. Figure uploaded by Kasia Szpakowska, © Felictas Weber: https://www.researchgate.net/figure/a-Bes-image-from-right-panel-of-triptych-on-footboard-of-bed-CG-51109-in-KV46-b_fig2_312627388

Operating diagram of the inclined well of the Great Pyramid of Khufu, and showing the extraordinary capacity of Bes to resist to extreme pressure due to the waters of the well. This is this capacity to hold of pressure, and then to let it go when it was time to drain the well, that has been used on the so-called 'State' chariots of King Tutankhamun: Bes transformed a regular chariot into a racing chariot, with the extra power of pressurized water... just like the chariot was a watercraft.

Photograph of a Tut's 'State Chariot' at the 2010 Tutankhamun Exhibition in Hamburg, thanks to Hendrik Plank:   https://www.flickr.com/photos/7501487@N08/4489917981/ and detail of Bes thanks to ©flydime: https://www.flickr.com/photos/flydime/3940873078/

12.04  The facetious and metaphoric use of the strength of the Bes 'magic wand'

One way of describing the thin upper part of the anchor block on which the Taweret plug was resting and that has been glorified into Bes, is a wand, some kind of ‘magic wand’; so it isn’t really surprising to see that ancient Egyptians tried to compare the strength of the Bes ‘magic wand’ with an erected penis, isn’t it?

This metaphor of the strongest erected penis, demonstrating its gigantic strength is even more interesting knowing that Bes and Taweret are both connected to sex because they’re both deities invoked by pregnant women about to give birth to their baby.

Representation of Bes, the Egyptian god of Childbirth and pregnant women, with an erected penis: https://www.world-in-words.com/news/lilla-del-deu-bes/

12.05  The facetious and metaphoric use of the huge power of the water of the inclined well controlled by Bes on King Tut's chariots

King Tutankhamun died around 18 or 19 years old, basically he was just a kid; and he was not different from kids of the same age today: the same way they are putting hot rod flame stickers on their beloved cars, King Tutankhamun did the exact same thing on his 'State' chariots. Except Egyptians didn't know about internal combustion engines, so they didn't use flame stickers as metaphoric representations of the power of the engine; but Tutankhamun knew about the inclined well and all its water, and the gigantic energy that have been released when Bes broke so that the well could be drained. So Tutankhamun didn't use flame stickers on his chariots, but representations of Bes instead: King Tut simply wanted to use the power of pressurized water that was controlled and released by Bes.

If protective figures like figureheads on sailing ships are always set at the bow of the ships for obvious reasons, the jet reactor-like protruding elements under the representations of Bes, are for what it's worth, set at the exact perfect location where a couple of metaphorical pump-jets generating a magical thrust power out of water would be installed today: the closest to the axle and the center of gravity of the chariot. King Tut simply wanted to get extra magical power for his chariots. So yes, in some way King Tut invented the first metaphorical "pump-jets". 

King Tut's 'State Chariots' really were Racing Chariots, using the power of Bes over pressurized water.

12.06  Why Bes was represented at the back of King Tut's 'State' Chariots: they really were Racing chariots

Egyptologists are so predictable and narrow-minded that it isn't a surprise to see them describing King Tut's chariots as 'State' chariots, or 'Ceremonial' chariots. But the thing is that there are many people who have worked on the chariots, who are clearly claiming that there are so many technological prowess in them, that they probably were very real racing chariots. They say there were not chariots designed to parade, but to race. They all say King Tut's chariots were all about performance, they are even compared to Ferrari racing cars of ancient time.

The only thing I'm adding here, is pointing out that Egyptians not only used real technology to build the chariots, but that they also used metaphoric extra power; but maybe it would be time for egyptologists to start listening to other people than just the ones who are only interested in the humanities; because ancient Egypt is only about science, technology and knowledge in general (mathematics, anatomy, astronomy, medicine, etc).

All the excerpts below are coming from an article written by Rossella Lorenzi for Discovery Channel and available on nbcnews: https://www.nbcnews.com/id/wbna38545625

• "According to Bela Sandor, professor emeritus of engineering physics at University of Wisconsin at Madison, King Tut's chariots surpass all monumental structures of the pharaohs in engineering sophistication."

• "There is no evidence of chariot racing from that era, but these chariots have many technical features that imply a pedigree based on racing," Sandor said."

• "In a study on the chariots' engineering, Sandor concluded that the vehicles were the earliest high-performance machines, boasting a complex suspension system of springs and shock absorbers. They even featured wheels with aircraft-like damage tolerance."

• "They were the Ferrari of antiquity. They boasted an elegant design and an extremely sophisticated and astonishingly modern technology," Alberto Rovetta, professor in robotics engineering at the Polytechnic of Milan, told Discovery News."

Spillway on the Monticello Dam, Lake Berryessa, Napa County California after heavy rains, March 2017, thanks to Phoebe: https://commons.wikimedia.org/wiki/File:Monticello_Dam,_Lake_Berryessa_spillway.jpg

Left: 1915 English magazine illustration of a lady riding a Champagne cork (Lordprice Collection) on Wikipedia

Right: Champagne uncorking captured via high-speed photography by Niels Noordhoek

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Operating diagrams of the Great Pyramid

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