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Author Topic: Idrimi: The first King of the Hebrews - 1500 BC
Marc Washington
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http://www.beforebc.de/400_neareast/02-16-400-00-18.html

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Mike111
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Marc - Nice subject.
Idrimi's statement, when taken in context, makes me wonder if the definition for Hapiru (seller of ones service) is correct. It seems unlikely that an Amorite King would refer to his subjects by a foreign slang term.

As to the statue itself; anyone who has been researching for any length of time, has to at times find it almost dizzying, the amount of falsifications White people have made regarding history.

Not content with just lying about the facts, White people routinely restore ancient artifacts to make them appear to be White people - and think nothing of it. I don't what kind of search for truth they call that.


The Great Harris Papyrus

From Thebes, probably Deir el-Medina, Egypt
Reign of Ramesses IV, around 1200 BC

Papyrus from Discourse to the Gods, showing Ramesses III before the Triad of Thebes

At forty-two metres, this is one of the longest papyri still in existence from ancient Egypt. It is divided into five sections, with hieratic text and three illustrations of the king and the gods accompanied by hieroglyphic texts.

The papyrus is named after A.C. Harris who purchased it in 1855. The papyrus was acquired by the British Museum in 1872.

Do you see anyone who looks remotely Egyptian in this??

Notice the Museum does not claim authenticity in any way.



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Mike111
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More White "slight-of-hand" and truth.


Limestone statue of a husband and wife

From Egypt
18th or 19th Dynasty, around 1300 BC

An unidentified couple

We do not know the names of this couple, or where their statue originated, though a number of similar statues have been found in Saqqara. The largest monuments of this period at Saqqara are tombs such as those of Horemheb and Maya, which, with their impressive gateways, colonnaded courts and complex chapels, are often known as 'temple-tombs'. They have only been properly excavated in the last quarter of the twentieth century.

The man wears a long detailed wig, and a long robe with long wide sleeves, while his wife has a large enveloping wig and a long-sleeved dress. The style of the figures is characteristic of sculpture of the later years of the Eighteenth Dynasty, around the reign of Amenhotep III (1390-1352 BC), and the early years of the Nineteenth Dynasty (begins 1295 BC).

Henry Moore (1898-1986), one of the most internationally renowned British artists of the twentieth century, was a frequent visitor to The British Museum. Moore once said: '... nine-tenths of my understanding and learning about sculpture came from The British Museum'. He particularly admired this statue, and it was the inspiration for his King and Queen (1952-53), now in the Tate Gallery, London. In 1998, as part of a tribute on the centenary of his birth, the Tate Gallery kindly lent the King and Queen to The British Museum. The two couples were placed together in the Egyptian Sculpture Gallery as if in conversation.


As we all know, LEGITIMATE statues of this size and quality, ALWAYS have inscribed text which identifies the people and their god. Compare with the statue below it.

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Sandstone statue of Paser

From Abu Simbel, Egypt
19th Dynasty, around 1250 BC

A viceroy of Nubia presenting an altar to the god Amun

This statue was discovered by Giovanni Belzoni in the area of the Temple of Abu Simbel in 1817. It shows Paser, a viceroy of Nubia during the reign of Ramesses II (1279-1213 BC). He is holding an offering table on which is placed the head of a ram, an animal sacred to the god Amun. The viceroy of Nubia was responsible for Egyptian concerns there, and in charge of military campaigns. It is reasonable to assume that Paser set this statue up as a votive offering to Amun while on duty in Nubia; Amun is one of the deities worshipped at Abu Simbel.


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Mike111
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More White "slight-of-hand" and truth.


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The 'Queen of the Night' Relief

Old Babylonian, 1800-1750 BC
From southern Iraq

A major acquisition for the British Museum's 250th anniversary

This large plaque is made of baked straw-tempered clay, modelled in high relief. The figure of the curvaceous naked woman was originally painted red. She wears the horned headdress characteristic of a Mesopotamian deity and holds a rod and ring of justice, symbols of her divinity. Her long multi-coloured wings hang downwards, indicating that she is a goddess of the Underworld. Her legs end in the talons of a bird of prey, similar to those of the two owls that flank her. The background was originally painted black, suggesting that she was associated with the night. She stands on the backs of two lions, and a scale pattern indicates mountains.

The figure could be an aspect of the goddess Ishtar, Mesopotamian goddess of sexual love and war, or Ishtar's sister and rival, the goddess Ereshkigal who ruled over the Underworld, or the demoness Lilitu, known in the Bible as Lilith. The plaque probably stood in a shrine.

The same goddess appears on small, crude, mould-made plaques from Babylonia from about 1850 to 1750 BC. Thermoluminescence tests confirm that the 'Queen of the Night' relief was made between 1765 and 45 BC.

For those not paying attention, that is a range of 1,720 years. In that time, Mesopotamia went from being Black lands to White lands with Alexanders conquest of the Persians in 334 B.C. Did anyone notice the slight of words? "Other statues of the goddess appear on crude, mould-made plaques from Babylonia from about 1850 to 1750 BC." But being careful not to say that they looked like this one.


The relief may have come to England as early as 1924, and was brought to the British Museum in 1933 for scientific testing. It has been known since its publication in 1936 in the Illustrated London News as the Burney Relief, after its owner at that time. Until 2003 it has been in private hands. The Director and Trustees of the British Museum decided to make this spectacular terracotta plaque the principal acquisition for the British Museum's 250th anniversary.


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Marc Washington
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Mike. You make good points and I like the images you use to prove those points. Below is another example of the huge effort (imagine how long it takes to re-create an artistic masterpiece) to falsify history:

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http://www.beforebc.de/Made.by.Humankind/Real.People/02-16-800-00-12.html

In my files, I have (not all that many) perhaps a dozen-and-a-half more examples of ancient black originals and their white falsifications.

One enormous area of falsification is the Grecian gods and later Jesus, the disciples, and the early saints and church fathers. They were black but mostly after about 500 AD, they more-and-more often are shown as white as whites.

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Mike111
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Yes Marc - White people have been absolutely SHAMELESS in their falsifications. One of my favorite examples of their criminality are the phony Sumerian statues.

Looking at this particular statue, one would have to conclude that Sumerians had poor PERIPHERAL Vision (the nose bridge is so high that they couldn't see past it laterally).

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Of course we know that nature doesn't really work like that. So how did those HUGE noses get on the statues?

Well the problem is that Black noses are WIDER at the base than White noses. So if you want a Black nose (like the one below) to appear to be a pointy type nose like a White persons, but from the base of a Black persons nose. You have no choice but to build it UP and OUT, and then put a point on it. The result being the monstrosity on the woman above.

It would all be very funny, except when you think about the real intent of such farcical behavior, and then you realize that there is nothing funny about it. Actually, it is very sinister to Black people.


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Mike111
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Marc - As you well know; when they can't perfectly match the statue material with stone putty, so as to make it appear natural, or don't have the necessary materials; they just simply break-off that hated Black nose. (Hated because it tells the REAL story)!


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Afronut Slayer
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You guys are ridiculous! If the artwork does not jibe with your false afroutopia you label it a fraud. LOL! Simply pathetic!
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Mike111
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Marc - One of the best ways to calculate just how much work White people have done in falsifying Black statues, is by comparing stone and plaster statues with "FAIENCE" statues.

As you know, faience is earthenware decorated with opaque colored glazes, and as such, it is almost impossible to match and patch perfectly with stone putty. Also faience statues tend to be "small" so Whites have left them in their natural state.

And from these faience statues we can see that the ancient Blacks made statues with NORMAL looking Black noses. Which means that ALL Black statues and busts, which HAVE noses, have been tampered with to some degree.


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Mike111
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Marc - As an example; when the Egyptians made this statue, the nose did NOT look like this.

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Actually, this one is a bad example. It's a complete fake.

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Lets try this one instead.


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Marc Washington
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Hi Mike.


In my data base, I have a section for big noses for both blacks and whites going back from millenniums before Christ until 1000 BC or so.

Interesting is that both blacks and whites had humongous noses and that's because, I suppose, they needed them for hunting.

In those days, whites really did have super high nose bridges and Socrates himself even commented on it:

Soc. For this good reason, that a snub nose does not discharge the office of a barrier;[8] it allows the orbs of sight free range of vision: whilst your towering nose looks like an insulting wall of partition to shut off the two eyes.[9]

http://www.beforebc.de/all_europe/700_mediterranean/Symposium-V.htm

That doesn't diminish the fact whites from thousands of years back until today still deface the black nose (as with the Sphinx where Napoleon used it for target practice) and still falsify historical and Greco-Roman mythological figures with whites noses.

The page below contains a number of black gods and goddesses from thousands of years before Christ who after Christ are typically shown as white:

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http://www.beforebc.de/Made.by.Humankind/Gods.MotherGoddeses/02-16g-010.html

And Ishtar and Venus began black but became white:

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http://www.beforebc.de/Made.by.Humankind/Gods.MotherGoddeses/02-16g-500-01.html

If a comprehensive study was done, we'd no doubt find probably over 500 black historical and/or mythological figures later white-washed and presented in textbooks as white.

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Keep up the good work!

Marc

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