Correct identity of the above King Menkaure flanked by the goddess Hathor and a nome goddess Bat. material: Graywacke Cairo Museum
Another similar sculpture of King Menkaure
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The actual Stele of Sneferu, 3 photos below
Sneferu wearing the white robe of the Sed-festival, from his funerary temple of Dahshur and now on display at the Egyptian Museum
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^^^ on this second page he speaks about two different photos of the same Menkaure and he says they look different.
His green caption says:
quote: Here is a modern picture of the same stela, as it sits in the Cairo Museum. Funny thing though, now it is said to be Menkaure, 5th king of the fourth dynasty, and the Nose is different. What are we to make of this? Seems "Improvements" were made over the years, but is that legal? (Tongue firmly in Cheek). The Turks in Egypt are just full of surprises!
^^ This suggests that the sculpture of Menkaure was altered at some point between the time the two different pictures were taken but that has nothing to do with the indentity of the king.
It says on the first photo:
quote: The quality of this photograph is poor, because it is a very old B&W photograph which had to be enlarged.
Yet there is no source given for this poor quality photo or the claim that that photo was originally captioned or identified as a picture of Sneferu
Meanwhile if you look at the poor photo which is suggested to be authentic it still closely resembles other sculptures of Menakaure Such as this very similar sculpture also on the same page: ^^^ yet now this other very similar sculpture is labeled Menakaure. It's comical
So what we are seeing here is a simple error on identifying the sculpture at the top of the thread and comparing two photos of it is merely a diversion to cover up the error.
Both pages have the sculpture at top captioned "Stela of king Senferu" but it is obviously not the Stela of king Senferu. It's just a screw up or a lie and the former if not corrected becomes a lie.
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Egyptian Old Kingdom, Dynasty 4, reign of Menkaura 2490–2472 B.C. Findspot: Egypt, Giza, Menkaura Valley Temple Dimensions Width x height x depth x weight: 43.5 x 84.5 x 49 cm, 187.8 kg (17 1/8 x 33 1/4 x 19 5/16 in., 414.02 lb.) Mount (Steel pallet sits on wooden reinforced pedestal/4-steel clips): 10.2 x 62.5 x 64.8 cm (4 x 24 5/8 x 25 1/2 in.) Case (wooden pedestal): 100.3 x 68.6 x 71.1 cm (39 1/2 x 27 x 28 in.) Block (Plex-bonnet): 105.4 x 64.5 x 67 cm (41 1/2 x 25 3/8 x 26 3/8 in.) Accession Number 09.200 Medium or Technique Greywacke On View George D. and Margo Behrakis Gallery (Gallery 207) Collections The Ancient World Classifications
Sculpture
The sublime beauty of this triple statue masks the sophistication of its composition. The central and largest figure is Hathor, an important goddess throughout Egyptian history associated with fertility, creation, birth, and rebirth. She was the king’s divine mother and protector. Here, she wears a headdress of cow’s horns and a sun disk, but otherwise her appearance is that of a human female, and she is depicted with the same hairstyle and garment as her earthly counterparts.
Hathor embraces King Menkaura, who is standing to her left. He wears a crown symbolic of Upper Egypt (the Nile Valley) and a wraparound kilt whose sharp pleats conform to the outline of his body. In his right hand he holds a mace, a weapon frequently wielded by kings in relief, but until now not reproduced in stone sculpture. Here, artists solved the problem of carving its thin and fragile shaft in the round by resting it on Hathor’s throne. In Menkaura’s left hand is a short implement with a concave end; it is generally interpreted as a case for documents. Size corresponds to hierarchical position in Egyptian art, and while visually Hathor and Menkaura appear to be the same height, the seated goddess is significantly larger in scale. Like Menkaura’s queen in the pair statue (pp. 86-87), Hathor’s embrace is one of association, not affection, and all three figures gaze impassively into a distant horizon.
The third and smallest figure is a goddess of lesser importance, associated not with the entire country, but with a single district in Upper Egypt known as the Hare nome. It is symbolized by the rabbit standard she wears on her head. An artist has cleverly merged the ankh sign she carries in her left hand with Hathor’s throne. The Hare nome goddess, like Hathor and Menkaura, exhibits a body proportioned according to the Old Kingdom ideal of beauty and is modeled with the restrained elegance that makes this period a highpoint of Egyptian art.
The inscription on the sculpture’s base clarifies the meaning of this complicated piece: “The Horus (Kakhet), King of Upper and Lower Egypt, Menkaura, beloved of Hathor, Mistress of the Sycamore. Recitation: I have given you all good things, all offerings, and all provisions in Upper Egypt, forever.” It signifies that all the material goods produced in the Hare nome will be presented to the king to sustain him in perpetuity. One theory suggests that eight such triads, each featuring the king and Hathor with one of the other nome deities, were set up in Menkaura’s Valley Temple. Provenance
From Giza, Menkaura (Mycerinus) Valley Temple. 1908: excavated by the Harvard University-Museum of Fine Arts Expedition; 1909: awarded to the MFA by the government of Egypt. (Accession Date: May 17, 1909) Credit Line
Harvard University—Boston Museum of Fine Arts Expedition
But below realhistoryww.com claims he's not African that he was actually the Prince of Portugal. That is a lie, completely and totally.
But why does realhistoryww.com tell that sort of lie ?
The answer is that there is a big demand for it
We like these new lies and we want to hear stories about it.
But why do we want to told that lie? Think, lies are creative, they allow us to escape We go to watch a movie and those people, they are all pretending
quote:Originally posted by Mike111:
quote:Originally posted by Mike111:
Luís Filipe, Prince Royal of Portugal (1887 – 1908)
As everyone can plainly see, the dress of the Boy does NOT match the period mid to late 1800s when the Kongo boy was "Supposed" to have existed. Therefore the young Prince above could not possibly fit in with the Albino lie.
Albinos lie about EVERYTHING, including dates and periods, that's why we must all have our wits about us!
Here the author of realhistoryww.com, this mysterious loner, gives you no evidence for his claim that this black young man is actually Luís Filipe the Prince of Portugal When someone tells you "As everyone can plainly see" you know they are about pull a rabbit out of a hat. And low and behold the magic is performed, the white Luis Filipe Prince of Portugal is magically transformed into a handsome young black man, a magical switch has been made, by a high priest . He is no longer a prince of the lowly Africa but he has become a prince of Europe,! the gold standard of royalty and class. It is no longer theirs. It is ours!!
The author informs us:
" the dress of the Boy does NOT match the period mid to late 1800s when the Kongo boy was Supposed to have existed."
Yet this is another lie, some Royal Africans, key word some, did indeed wear European style royal clothing and crowns back in the 1800s. -But we can't "plainly" know that until we do research instead of this "as we can plainly see" which also goes by another name "just trust me, wink, wink" And will you ever see a European royal of this period with that large robe wrapped around him? Will you see a hat like that on any Portuguese royal of the period? Maybe but you need to research it to find out. You can't just take the word of some anonymous person who has a website. You need multiple sources to check something. Someone might tell you some true things but they might mix a lie in. Do you know wear they put it? Here, the card is right behind your ear
n 1491, King Nzinga converted to Christianity of his own free will, urging the Kongo nobility and peasant classes to follow suit. To varying degrees, the Kongo kingdom remained Christian for the next 200 years. Scholars continue to dispute the authenticity of Kongolese Christian faith and the degree to which the adoption of a new faith was motivated by political and economic realities. From the time of Nzinga's conversion until the seventeenth century, Kongo leadership engaged in extensive communications with religious and political leaders from Europe, including the pope and other members of the Vatican, who accepted the Kongo church as orthodox.
The Kongo kingdom was one of the largest in sub-Saharan Africa during this period; spanning over 115,000 square miles, it had a highly centralized monarchy as well as a powerful noble class. The urban nobility sustained its luxurious lifestyle through a heavy tax system levied on the rural peasant class. Bulk products from the provinces, including copper, salt, wild animal products (hides and ivory), as well as cloth and later slaves, were traded to the Portuguese. Conversion to Christianity solidified these important trading relationships.
The Kongolese nobility swiftly adopted Christianity for several reasons. The first is that the nature of the centralized government and the hierarchically structured society facilitated the dissemination of information. The translations of Christian doctrine into the local language, KiKongo, was done such that words like spirit, god, and holy were rendered directly equivalent to existing concepts in Kongo cosmology. Missionary documents from the seventeenth century claimed that they had found a people who believed in a single god but did not know his name. This tolerant version of conversion practice differs dramatically from the often violent Spanish equivalent in the Americas, which was based on a principle requiring a "change of heart." In parts of Kongo, Christianity was accepted not as a new religion that would replace the old, but rather as a new syncretic cult that was fully compatible with existing structures.
Portuguese missionaries wrote KiKongo dictionaries and grammars and brought many translations of Portuguese religious texts, thus through the process of ordination a local literate class of priests developed. Afonso I, the Kongo king who reigned from 1506 to 1543, was not only literate but also spoke and wrote in Portuguese, and his son Henrique was sent to Europe to complete his religious training. Afonso's many articulate letters to the Vatican and to Portuguese bishops are some of the most important records of precolonial Africa and the Kongo Christian faith.
^^^ wow look at this. He is wearing European royal garments he must be a European king. Isn't that exciting?
It might be exciting for some but the reality of this is that it's King Denis Rapontchombo of the Mpongwe in Gabon, known as King Denis, with his wife 1865
In 1839 he signed a treaty making Gabon a protectorate of France. At the time Dom Nicolau, the prince of the Kongo at the top of the post, not the Prince of the Portugal but the prince of Kongo was 9 years old.
It's part of the history of Gabon, try looking it up if you want top learn about African history.
However you might not want to learn about African history. Let's be honest. there are some good things there but there are other things we might not want to look at.
So you see
that we don't really want to see the truth
The truth might be unpleasant. You cant control the truth, you can't shape it and form it to your exact liking it just is what it is.
So when we call out the lies of the "albino" but what do we really want?
We want our own lies
and that is the truth
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