Forgotten Origin

Ancient Egyptian Presence In Australia: The case for the Tablet (Paper 1 & 2)

Tracey’s Tablet-the Final Egyptian Verdict

In our first article on Tracy’s Tablet we spoke of the artefacts’ recent history, her intervention and the unusual plaster-like substance that was moulded into this magnificent document/artistic relief, but very little mention was made of what it all meant. The crude overview and tentative interpretations we now offer is very much our opening gambit, and most assuredly we will be liaising with experts in the appropriate field who we trust. Despite being in the early stages of our research there are glyphs and segments understood that already open up possibilities and give solid indications that this tablet was indeed an ancient treaty establishing terms and conditions formalising an Egyptian settlement and involvement in Original land and affairs.

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On the Surface
As mentioned in our first article, the fact that this a plaster-like cast as opposed to a carved piece of stone, is very unusual. And so begins our journey outside the norms. Ignoring all the hieroglyphs engraved what we have before one single symbol was incised into this composite mixture is a blank ‘canvas.’ Of itself it is an amazing piece of design and art of the highest degree. Beginning with the three dimensional ankh, replete with inscribed hatchings and internal reliefs, it acts as the focal point and dominates the scenery with a pervading mystical message. There is a deliberate symmetry throughout this tablet which we suspect is meant to reflect an openness and honest pledge to share.
Flanked beside and above, which is also part of the original cast, are three sarcophagi. Positioned in a perfect triangular alignment to the ankh, thus accentuating the harmony this document is formalising, we suspect that the two coffins on each side represent two males of Pharaonic standing and the tomb above is a female of equal status. The choice of three is elemental to Original Lore, as it is well known that all sacred sites and objects have three sources.
Next comes an unknown category of fine inscriptions applied with a very fine point or blade, which we are inclined to think was done before the plaster/concrete had set, but it really is a 50/50 call. Just beneath each side-sarcophagus there is seated an Egyptian king and queen facing each other and looking directly at the ankh.
Also depicted using the same technique is an assemblage of pottery, fruit/food and sundry items along with a rather enigmatic object we will discuss further in another article. Placed above the ankh, it would seem these items could be a record of gifts given during this formal exchange, or perhaps a shopping list, there can be no certainties. Nonetheless, when placed in context with the general setting and design, and in particular the text engraved, such a possibility of gift-giving is entirely in accord with the sentiments of this document.
Into the Plaster
The hieroglyphs, which number close to 300, almost certainly were chiselled into the surface after the mixture dried. There was an initial suggestion that maybe each imprint was stamped, but closer inspection reveals an inconsistency amongst shared glyphs. The hieroglyphs are very small and quite a delicate line and blade was used. What is immediately apparent when surveying the tablet in its entirety, is the incredible talent of not only the scribe but the artist. Undeniably this is a magnificent piece of art irrespective of when it was created, and the person entrusted this task surely had few equals. We are convinced that the symmetry, artistic skills and intricate designs found on this plaster must herald something of immense importance.

Into the Breach
Our tentative attempts at translating this ancient document come with a pocket full of caveats. We do have a fundamental understanding of Proto-Egyptian writing, and are quite familiar with Ray Johnson’s “Basic Hieroglyphica,” which contains over 3,000 glyphs and translations, and that book certainly has been of major assistance in translating the controversial Bambara Glyphs. It is our suspicion this treaty was created centuries after first contact, and that the Egyptian script on the tablet may be more modern than that at Bambara. If so this could possibly lessen its effectiveness when interpreting the tablet. Undeniably this is true, but even so there will be links, cross-overs, and icons barely changed, so the manual still has a place to play.
We are not Egyptologists, and the panel we have selected to study will then be sent to three experts who we trust. Due to our limitations in this field we are not able to give anything past a general overview. But we are very familiar with the Original mythology, Lore and surrounding archaeology, and equally already have a large reservoir of local archaeology and engravings with an Egyptian ‘flavour’ with which to compare. It is our intention to provide one semi-detailed amateur’s analysis of the top section of 36 glyphs, then pass the baton on to the professionals.
A Crude, but Bold, 101 reading of the Hieroglyphs.
No specifics or sentences, just generalities and common themes, that is all we intend to offer. However, amongst the equivocations we do lay claim to one certainty, that this tablet is a formal document negotiated with Original people. In the simplest of terms sets out terms, conditions and most importantly, common esoteric goals. This tablet is a legal document in every sense, acknowledging Original sovereignty and Egyptian rights of passage and tenure.
During our preliminary comparison we will make reference to the hotly disputed Bambara Glyphs. It needs to be made clear the authenticity of this tablet is in no way tied into the validity of the glyphs on the sandstone walls. Their histories are obviously separate and in no way dependent upon each other. What can’t be denied is the cross-over in bulk, there are a huge number of symbols shared and because of this it would be remiss of us not to highlight that convergence.
First up, there is not one mention or depiction of an Egyptian God or device, with one exception the narrative is bare. The ankh and ibises do appear, but as they are direct accompaniments to Thoth that is to be expected. What was not predicted was the total lack of any other overt religious iconography. At Bambara there are close to ten seated, meditative figures denoting, holy, majesty, etc., but here there is nothing recognisable in attendance or on the tablet. This not to say the spiritual larder is bare, quite the opposite, it is just more subtle and a touch more sublime.
Just as it is at Bambara there are human figures, but on this tablet they all bear a different guise and seem to be offering “invocation” and acting more as a recipient than a wisdom giver. But unlike Bambara where each holy person is seated cross-legged, on this tablet they are on their knees or seated on the ground in supplication with the legs acting as spectators. All poses are prostrate, in that they adopt defenseless, non-aggressive positions, which is another trait very much in keeping with the atmosphere of conciliation needed if permission is to be given and a treaty to be agreed upon.

Up Close
We begin our translation at the top right hand corner, and have paid particular attention to the column of glyphs closest to the edge, then the symbols placed on top of the sarcophagus and finally, the vertical line of hieroglyphs closest to the ankh. Conceding that this was our first inspection and a more intensive day studying the tablet is needed before any degree of certainty can be claimed, our tally of those three lines was 36. However, that is conditional, as one of the many cracks took some characters out of play, and we estimate there could be up to six markings that did lay somewhere on the utes’ floor before either blowing away or being swept out. Of the 36 glyphs remaining we are comfortable we can find an identical or extremely close match on 32 occasions, and this alone leaves us predisposed towards assuming the script is predominantly proto-Egyptian.

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Our reading opens with symbol for “give,” and alongside it is quite specific in nominating who is doing the giving, the “King of Upper Egypt.” Aware that the etchings above are of an assortment of pots and probable gifts, this initial reading is in synchronicity with the background setting. Beneath we noted the glyph for “beginning” or “mission” was engraved, and so the parameters expanded. Hieroglyphs representing ”wise,” “negative,” “building,” “fingerprint,” ”from,” with particular emphasis on both “chemical” and “throwing sticks” which appear twice in the first column, have all the makings of a fascinating introduction that gets even more intriguing as it continues.
Over the next two vertical arrangements of hieroglyphs mention is made of another far more complex “building,” “negative,” “hoe,” “from,” “mass/gravity,” “father,” “Lord,” “etheric region,” “govern,” “place of seclusion” and again a double acknowledgement is observed in another glyph meaning “I welcome you.”
Put this all together, and of course anything past identification of individual symbols is subjective, nevertheless there are some constants and directions hinted at that deserve further consideration. This concord/treaty begins by stating who stands in authority, in ancient times it was from Upper Egypt the seat of power was found. The formal giving in establishing diplomatic relations abroad, is obligatory and what follows may well expand on the cargo offered in homage. The “beginning” or “mission,” was an agreement to allow selected Egyptians to be apprenticed to Original guides and perhaps share in some of the Original mystical secrets and insights.
The doubling of “throwing sticks” (boomerangs) may not seem such a surprise, but we were caught unawares by the repetition of the symbol for “chemical.” This symbol makes many appearances on the Bambara walls, and being placed twice within the first dozen glyphs reinforces that same prominence. As to what this chemical offering is, that needs more deliberation and will be addressed down the track.
The appearance of a glyph on the opening panel we suggest to be “building” is a fascinating contribution. Throughout this proclamation of motivations, goods and chattels there are eight glyphs that take on the general form of buildings, but every construction displays minor variations and the most complex and ornate sits atop on the centre of the first sarcophagus. We feel permission was given to build eight steeples/temples/constructions of significance, and this was itemised in this list of conditions and rules of admission.
What really narrows down the possibilities is our identification of the glyphs bearing an agricultural imperative: the “hoe” and “scythe.” With buildings built and crops sown, it seems the Egyptians were allowed the license to organise their lifestyle in a way that is expressly against the sentiments of the Dreaming. Farming, at least the land over-management we recognise as farming today, is prohibited. It is a sin to leave the earth exposed, but it would seem accommodations were made for these novices from overseas in the Original things that really matter.
Amongst all the pragmatism it must be remembered there was always an underlying spiritual agenda. Because of the absolute need to further this eternal quest, mention is made of what is either a “place of seclusion” or “the third Heaven where the beings are masters of their own Ka.” Accompanied by glyphs denoting “lord,” “God” and “father” from the very beginning there is a strong mystical undercurrent throughout the whole account.
Enough of the front panel and three vertical passages, this was meant to an appetiser and the first section will be returned to a later date. But what it does provide is solid circumstantial evidence that lends some support to our belief that this a formal, and in every sense, legal document.
The Walls of Bambara
We are confident that the text is primarily proto-Egyptian as we are running at near an 80% match to Ray Johnson’s journal and our comparisons are far from complete. In what is a very persuasive cross-match, there is a very ornate glyph on the tablet that corresponds exactly with entry number 2411, “Keeper of the Wardrobe.” Another fairly intricate symbol that resembles a horse shoe with circles on the two ends engraved into the tablet again matches identically with “lift” (2614) or “mass,” which can not only be found in the proto-Egyptian manual, but also on the walls at Bambara.
What does cross boundaries is one hybrid of the hieroglyph for “etheric region.” According to Ray Johnson’s proto-Egyptian manual, and in keeping with most, but not all representations of the etheric regions have two peaks, one on each end of a rectangular base. However, there is one notable exception to the rule, at Bambara there are three rectangles each with three peaks. In what is either a remarkable coincidence, or confirmation of a shared glyph of tablet and walls, one glyph on the tablet also has three peaks.
The same rules apply when examining a series of five-legged crafts or mechanisms of some type with what looks like a capsule above found throughout the tablet. Nominated to be ether “a place of seclusion” or “the third Heaven,” there is a cluster of similar objects, some with five legs and others with a cabin structure atop, that can also be found at Bambara. Also sharing dual occupation status on the tablet and walls are glyphs representing ”sky,” “serpents,” “horned vipers (father),” “negative” and “Lord.”

2)  Glyphs

Thoth: First Amongst Equals
Probably the most convincing link between the tablet and the general flavour of surrounding archaeology, is the pre-eminence of Thoth in the land and on the tablet. We have seen an Original engraving of an ankh with an ibis footprint beside which was claimed by an ex-Senior Park Ranger with training in geology, to be over 10,000 years old. There are ankhs on the wall at Bambara, which is supplemented elsewhere in the area by a variety of depictions of the bearer of this sacred icon: Thoth.
Very close by are profiled engravings of Thoth, one in ibis-form and the other with ape features. Within three kilometres of the Bambara glyphs is another engraving of who we believe to be Biaime/Thoth, this Sky-Hero stands feet apart with what we feel is a helmet on his head, the sun and moon in each hand and large belt across his stomach which Aunty Bev referred to as the “Belt of Orion.” Remaining consistent to this recurring celestial theme, beneath this Sky-Heroes’ left foot is a massive engraved canoe/vessel measuring over seven metres. Local Original Custodian, Gavi Duncan, has stated that this craft was used to navigate “through the Milky Way.”

The Masters and the Apprentices
With the exception of the ankh/Thoth there are no Egyptian deities or related religious paraphernalia apparent on the tablet, all that remains are a series of human figures of indeterminate gender in a prostrate pose. They are receiving, never imparting, wisdom and guidance from their betters and this we believe provides an insight into the dynamics of this treaty. The tablet opens with a mission statement and an itemised account of what they brought, required and sought in return.
The repetition of hieroglyphs on the tablet, which in some cases has a tally running into double figures, including the flag of “God,” “Serpent Goddess,” “horned viper/father,” “sky” and “etheric region” runs consistent to the same theme. They are but some examples of the esoteric issues that were of prime concern to these Egyptian pilgrims. We have stated many times before that Australia was the fabled ‘Garden of Eden’ mentioned in many ancient accounts, the place where modern humans first evolved and all the ennobling civilised traits that elevate came into existence. The ancient Egyptians knew they were now standing on hallowed ground and were in the presence of the world’s greatest mystics, Kaidaitcha Men, Wee-uns and Clever-fellas. This is why there is no record of conflict, they never invaded but reverently asked permission to enter and stay under supervision.
As brief as this overview is, it is adequate for the task at hand. All we intended to present is a general setting, at the very least we have provided a platform from which to begin, extend or disprove.
When reassembled and restored to its former glory by professionals the plaster tablet will be recognised for what it was, and still is, an exquisite piece of art containing a narrative within that brings into question so many pre-historical assumptions and supposed truths. Of course others invariably see things in a more negative light, devout sceptics and defenders of current regimes are left with no other defense outside denying the credentials of the rock and decrying the motives of those championing its authenticity.
Truth or Fiction?
That opposing stance, in declaring the artefact to be bogus, falls short in one elemental level. Forget Tracy’s testimony, ignore the worn state of the tablet and intriguing mix of plaster, crystal and rock (which we will soon analyse), disregard the incredibly tight match between the proto-Egyptian manual and Bambara hieroglyphs, what doesn’t make any sense is that the tablet is so intricate, delicate and utterly magnificent. Why would any human being, past or present, invest so much time and expertise in making this plaster relief then dump or stow it between the walls of a derelict building? Why bother faking something of which there is no model from which to copy? All that labour, material and talent yields nothing and achieves less if merely a fake. No matter which way it is spun around into a rebuttal, the underlying premise of all this being a mischievous ploy does not make sense.
One of the most famous American philosophers and social commentators has always had a fixation about any testimony or evidence that fails the simplest test of logic. Judge Judy has often reminded litigant and audience alike that “if it doesn’t make sense it is a lie.” Nothing about this tablet generates any joy or fame if a prank, the whole concept is purposeless and pointless. And because of these truths, any denial of legitimacy just “doesn’t make sense.”
As to what the truth is, what function this document performs and the actual meaning of the hieroglyphs, that is a work in progress that has barely began. Once this article is published the first portion of hieroglyphs will be sent out to a group of academics and custodians, all are separate from each other in leaning, continents and will be working independently on their translation. Collating the results then comparing each translation will be an illuminating read and an essential part of our next article.
Another task that hopefully will soon be completed is an analysis of the plaster/concrete/crystal mixture. We are very confident that what will be identified is not part of the local geology, and that the source will be much further away, perhaps all the way back to Egypt. In fact, once factoring in the exotic nature of the plaster, the type of specific non-Original artistic skill exhibited and knowledge in ancient Egyptian semantics, grammar and hieroglyphs, we would be extremely surprised if the minerals and material came from anywhere other than Egypt. Of course all our musings and suppositions over the plaster and its contents will be resolved soon enough.
There is so much more yet to investigate, with 36 hieroglyphs ticked off in the next article once the translations from those more qualified are in, there are over 250 glyphs still to decipher. We intend to make an extensive comparison to the reliefs/tablets from all ancient civilisations, questions will no doubt flow out of the chemical analysis that need to be addressed, and of course, more consultation is needed with Original Elders and Custodians of the Old Ways.
It’s a Fake!
The day after the first article was published we were swamped with pleas and aggressive directives demanding we take down the article. An image of a replica of the same tablet was used as ‘damming evidence’ of our haste and sloppy research, the photograph of a commercial replica for sale was most certainly of the same format and content as the tablet we are now investigating. The tablet was for sale, and the sales’ pitch noted its “unique” design and manner of construction. The ‘original’ tablet was dated at 1800BC from the Twelfth Dynasty, and as we suspected the two seated Gods were indeed Osiris and Isis.
Supporters and detractors have assumed since copies were made all we have found is a tacky replica. For them this was absolute proof that the artefact is merely a copy, from our point of view it does the opposite, it confirms that there was an agreement and that two copies of the document made between two parties which were kept. One tablet was stored in Australia and the other in Egypt, this is pure common-sense. Every transaction between two parties of equal standing, be it of a commercial or political nature, has some way a formalising whatever is of interest and both parties keep copies. That is what happened here.
One of our most committed supporters put it to us, what if someone bought a fake tablet and placed it between the walls, would this not explain how it got there? Bearing in mind the convict quarters built near Arthur Phillip’s residence were erected very, very soon after first settlement, and that this document was found between the walls, it had to be placed there in the late 1700’s or early 1800’s. My problem is, no-one was replicating or selling copies of any Egyptian documents or artefacts during that time, nor did Phillip take an unscheduled deviation to Egypt with the First Invasion Fleet.
No, all this news of present-day copies of a tablet considered so unique it had a commercial value in copying, is all well after the event. The convict buildings were completed well before Napoleon stumbled into Egypt and European interest in Egypt was reignited. What does assist is that the date of 3,900 years fits in perfectly with our belief it is a treaty. If Bambara is legitimate, which we believe it is, the first record of Egyptian contact is around 4,600 years ago. From that point, where both ships were damaged and death, drought and misfortune befell them, some considerable time was needed to return again, slowly acclimatise and most importantly win trust before a formal agreement and rights of settlement could be given. That being the case there should be two identical copies of that document, one in Australia and one in Egypt, and lo and behold and may we thank those who are trying to discredit us, the Egyptian counterpart to this esoteric and political alliance has been located.
It is ironic, in what many initially perceive as a fatal flaw in our research could actually be the missing final piece in an Australo-Egyptian jig saw that is thousands of years old.
What Tracy Said
We said this before, and will say it again, Tracy swears the artefact was found wedged between the walls of a convict building scheduled to be demolished. If she is telling the truth, these latter-day copies of this seminal concord granting controlled Egyptian occupation in Australia came into being well after the tablet was found and hidden during the times that the first Governor-General of the British Invasion Fleet set up residence in Parramatta. Phillip did not stopover at Egypt, nor did he bring Egyptian curios to adorn his residence, it was here when they arrived and long before. All the modern-day copies prove is that this tablet is extremely important, a work of art worthy of selling and that the second of the two original manifestos has been found.
The Political Undercurrent
For now we strongly suspect that this a formal tablet inaugurating an agreement between Original tutors and Egyptian novices in a quest to seek the Divine, that’s it. Anything past that truth is conjecture. In that hypothetical vein it becomes obvious that this formal agreement leads on to one non-archaeological side-issue that immediately looms on the horizon and deserves serious consideration before our next installment. What if this tablet is actually a treaty? If it is a legal document, does it have any standing today? Considering that the Original people were not written into the Australian constitution, and therefore have never legally abandoned their claims of sovereignty, and that no treaty of any sort was ever signed by any representative of the British or Original people, do these omissions of protocol mean that the Egyptian treaty still prevails?
Apart from rewriting huge parcels of ancient pre-history both in Australia and throughout the globe, there could be a political edge to this ancient Egyptian tablet that may turn out to be decidedly uncomfortable and extremely inconvenient. The Elders have spoken, the rock is genuine, and academics have taken the path of least resistance and chosen not to give an ear to the Original accounts of the past. Irrespective of any potential political impact and academic timidity, this tablet is a seminal discovery and will throw so much of what happened in the past into disarray.
At this stage there are no other certainties we can offer except that it will be a bumpy road ahead. Early contact with official channels regarding Ros’ Rock and Tracy’s Tablet is not promising and we fully expect the hostility will ramp up. Despite the hurdles and intransigence we will persevere in presenting the Original truth with Original guidance. With apologies to John Lennon, our plea to officials and academics is as simple as is the solution, ‘all we are saying is give Elders a chance.’

A Funeral Tablet, Treaty or a Fake?

A recurring complaint made about our style of presentation relates to how we work in installments, putting out information and archaeology as soon as possible. It seems a fair call. Critics and supporters alike are recommending a change in approach, suggesting ‘we are damaging the reputation of Bambara,’ that we ‘pull back,’ or ‘wait until all the evidence is in,’ and so it continues. Problem is we are researching Black-fella business and they are seeking a White-fella approach. The Original way was a little bit at a time, no rush, one piece of information was given, but often in a cryptic guise. It was never both sides of the argument clearly set out with a conclusion all in the same paper, not here, we do this Old Way but with one recent modification. The Original Elders and Custodians who guide and share with us have made it clear why they want these truths out now, right away, so we have to make haste. If we wait six months for all the information to gather, we could be dead by then and nothing will be shared or assembled. Same before, same now.
In our previous article Evan and I addressed the mistaken allegation that this tablet was a copy or in some way bogus, then we went a little further in suggesting that the tablet was actually a treaty. This was a bold statement to make and we will explain in greater detail towards the end of the article why we have chosen such an academically dangerous path. It is our belief that this document is a treaty witnessed by royalty from Egypt and Original Elders. This is the legal document between an Original tribe or tribe and the Egyptians establishing a form of diplomatic relations with people who were probably from the extinct Eora tribe. What hampers any investigation into this matter is that all of the Eora people were wiped out soon after the Invasion took place.
In spite of that crucial Original vacuum missing on site, there is still enough archaeology and history remaining to at least make some tentative findings, observations and one declaration.
Phillips’ Farm
In our last article we gave ample evidence proving that this tablet was here before the first British Fleet sailed into Port Jackson and dropped anchor. We are of the opinion that soon after Philip began to set up his main residence and first farm, the outbuildings were built and during that construction someone found and hid the tablet between two walls with the intention of returning. Whether death, being unable to secure a passage back to Britain or some other unforseen circumstances, what was secured between the walls was never collected and remained hidden until the order was given to destroy and demolish.
A Funerary Tablet?
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Having established a solid case linking this document back to Australian pre-historic times, the pressing issue now relates to what function this tablet performs, and just as importantly, what do the hieroglyphs say? At first glance, if relying on mainstream interpretations on the exact same text found on other copies of this document, the answer is simple, it is merely a funerary dedication to a person of high standing. We are told this document talks of the goods and chattels taken to sustain the deceased in their journey on the other side of life, of the expected meetings and approvals from Gods, the wisdom that will be revealed and the peace and harmony assured for any who gain admittance to this place reminiscent of tales of the Garden of Eden.
That is one interpretation, there is another that is also entirely consistent with the text, but reverses the geography and everything else. What if this document was a formal treaty between representatives of the Egyptian ruling class and Original Elders? Granting permission to enter the land of the First People, the place where religion, art, culture and life resonated under the auspices of the Dreaming, the items listed and opening passage could certainly be read both ways. The Original people were the keepers of the eternal truths, and if the Egyptians were going to win their trust, coming in reverence bearing gifts with an expectation to learn the elemental truths is the only way this could be achieved. Their approach to this earthly assignment would be identical to how they pay homage when entering the esoteric regions of the after-life. One location is ‘heaven on Earth,’ and the other ‘heaven not of Earth,’ for all intents and purposes outside geography there is no difference.
The Ankh, an Australian Icon
The ankh, the centre-piece of this tablet, is assumed to be an Egyptian icon that was always found with Thoth. It is not, it is Australian. The very first time Evan and I were taken out to inspect some of the archaeology in the Sydney/Gosford region with an ex-Senior Park Ranger of Brisbane Waters National Park, he took us to an extremely ancient Original engraving of an Ankh. We took dozens of photographs that showed nothing with clarity, but there was a brief interlude in the grey when the sun broke through and one successful photograph was taken. Undoubtedly, it was the most worn and difficult image to photograph, and when John Gallard declared that the ankh was at least 10,000 years old, this came as no surprise. Successfully studying geology at Cambridge University, John made it clear his knowledge in geology was extensive and that this date was valid.
Trick is, if it is half that date we still face the same problem. Thoth, the ankh, do not exist in any Egyptian records anywhere near 10,000 years ago, and if so does that mean the ankh has yet another meaning? With most symbols having more than one meaning and as a result ancient Egyptian hieroglyphs are contextual where the meaning is chosen that best suits the setting provided, the ankh can have many meanings. It can mean door, mirror, floral garland, eye of a deity, Thoth’s accompaniment, the door to the mystical side, it really is a pick and choose situation, but we suspect that the original meaning referred to the Original wisdom of Australia.
Not only the Ankh, but engravings’ of Thoth in both ibis and ape guise, wearing an Egyptian headdress, can be found in the same area. So too an engraving that we believe is a representation of the Egyptian God of Inheritance. This archaeology and much more, all located in the general vicinity, supplies a distinctly Egyptian flavour that strengthens the connection to Egypt and perhaps defines a more correct definition of what an ankh is and from where it originated, Australia.
With the ankh acting as the pivot upon which the tablet is formed around, what caught my eye early on were the female and male regents seated in their thrones. I commented when we first began our examination that I thought the female could be Isis, but dismissed this hope as being wishful thinking. Knowing that Isis’ place of origin was never specified, that there is no mention of any reciprocal political obligations with any nearby country through the marriage of royalty, and that the Isaic religion is almost identical in every respect to the Original Dreaming, these and many other reasons discussed in our earlier book have convinced us that Isis was Original. We had already postulated that this marriage was part of a formal set of ceremonies that cemented an alliance between Egypt and Australia. We have written a chapter in Forgotten Origins explaining in far greater detail why we thought Isis was Original, and of course this seated engraved image reminded me of other depictions of Isis, but I couldn’t let my preference of regent cloud my objectivity.
It turns out that according to the experts this is indeed Isis seated facing the Ankh, which is very much in accord with our expectations, but there are still issues unresolved and it would seem that at first glance the contents of a paper written by ancient Egyptian researcher Jane A. Hill (University of Pennsylvania) rule out this tablet being anything other than one of five funerary tablets.
Upon Closer Inspection
My first casual browse through Jane Hill’s paper was simply to look at photographs of the five tablets. They have nothing in common and none less unlike the rest than the Stela of Senebef. This tablet which has an identical setting, figures and hieroglyphs to Tracy’s tablet is, as we have often remarked, a magnificent piece of artistry. The other four are far less appealing, the setting is completely dissimilar and the figures are different, the only thing that is shared are five different representations of the ankh. I did wonder before reading the paper why these five tablets were claimed to serve the same function. But the problem is her paper has a sub-heading stating that all five moulds are “mortuary monuments.”
However, what was more than a touch contradictory was that Hill conceded there is actually no reason to assume any of these tablets commemorated any death. The site where this tablet was recovered presents a real leap in logic, simply because the “structures could not be described as empty tombs, but as memorial buildings because they contained no burial shafts.” Identified as “cenotaphs,” such buildings are monuments built in memory of someone buried elsewhere. This presents an irreconcilable dichotomy because the tablet is said to nominate the fallen, state their credentials, the goods and chattels bought in homage and their personal entreaties to the Gods. If this testimony is not in attendance with the body when judgment is passed, their passage into the after-life is assured to fail. If there are no tombs or burial shafts nearby, we would suggest the only thing this tablet cannot be is a funerary dedication.
In what only heightens the uncertainty, Hill noted that the entire area is an academic mine-field, and that “the complete lack of archaeological records of early excavations, when most of the Abydene stelae now housed in museum collections around the world were removed, leaves scholars no way of determining what percentage of Middle Kingdom stelae come from actual tomb chapels and what percentage come from cenotaphs.” Amongst all the collateral damage when educated vandals looted this treasure “scholars” of today are left to pick up the pieces, surely under these chaotic conditions passing any absolute verdict is unsound. Moreover, the chances that all five tablets, in particular the Stela of Senebef, are funerary tablets must diminish if for no other reason than it is agreed that “a large percentage come from cenotaphs.”
The names of the two males and female, who are related, are supplied, but in what again contradicts the norm there is supposedly a fourth person who died and he was called “Hor-Nakht, born of Kemhetes.” In what adds to the intrigue, the uncarved person is also unrelated, and whole notion of non-kin occupying a family tomb, which by the way is somewhere well away from where this tablet was found, is very odd. If a funerary tablet, and one of the finest quality, created by someone of the highest skill, carving a second small figure below the ankh would be very easy and maintain the balance. It seems illogical to not include some form of visual icon to acknowledge the fourth soul setting off on his journey into the after-life (or Australia), and no obvious reason why Hor-Nakht was ignored, or for that matter, even included.
Conversely, if commemorating a treaty signed between ancient Egypt and Australia, could this immortalise five major people involved in bringing this alliance into being and were fully acknowledged, and this person was of some lesser assistance? Was this a representation of the first Egyptian ambassadors?
When commenting on the crucial opening passages it is so important as it goes a long way towards identifying what the whole narrative means. Once a setting is established in the introduction, the interpretation of the passage that follows is somewhat determined by that opening read. According to Hill that first statement can be read as being “a revelation of the honored Senebef that he sees the lord of the horizons, crossing the sky with him and sitting with him before both of the shrines of the horizons.” Is this a story about the afterlife, or travelling over the horizon to ‘Heaven on Earth’ to assist in setting up and perhaps acting as regent in the newly established Egyptian settlement in Australia? What aroused our interest was the repetition of horizons, taking up residence with the “Lord” at a location that sounds earthly as opposed to the sky, which is crossed then seemingly descended from as they reach a location beyond the Egyptian horizon, sounds very Australian in destination.
This place to which Senebef and his entourage of family and another are destined, sounds like paradise. It is a location where they will meet a “priest with pure fingers” and be intoxicated by the “perfume of the gods.” Whether this account is of when they, along with all Egyptians under his command, were sailing towards Australia in reverence acting as apprentices and hoping to learn from Original Elders adept in the mystical and supernatural, or a description of their death and the four souls departing, is all a matter of perspective.
Mentioned in our previous article, our reading of the opening passage is not that different from the account provided except we had identified, through reference to Ray Johnson’s manual, no actual name but the same station. “Give” and “King of Upper Egypt” can certainly be read as offerings to their Original mentors or meeting their maker, but “mission” or “beginning” leaves us more predisposed towards continuing this narrative in Australia.
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So too there is one glyph found on both the Australian tablet and Bambara hieroglyphs which is also found in Egypt, by proxy. From the first time we had access to Ray’s manual and began the process of translating some of the glyphs at Bambara, I have found one symbol quite challenging which we assumed to be an extremely “etheric region.” When taken in context, we believe that this symbol could represent the land and people of ancient Australia. Normally the etheric region symbol is a rectangle with a triangle peak at each end, but at Bambara there are three peaks with the extra peak placed in the centre. We have never seen it anywhere else, until sighting Tracy’s tablet. There it was in the first column near the top, the same hieroglyph we had already identified as Australia. Obviously the same etheric glyph is on the Stela of Senebef and that affirmation must also add to the claims of Egyptian involvement in Bambara.
Why Bother?
Changing tact and focus, the whole idea that anyone would bother to buy this tablet overseas, bring it to Australia, wander out to Phillip’s farm at Parramatta and when no-one was watching wedge the mould in between two convict walls and run off never to be seen, seems ridiculous. No credit claimed or idle tongue heard in boast, and no point or sane reason could ever be ascribed, and nor has any name been given. To do this just doesn’t make sense.
Even if ignoring the utter stupidity of this mischief, if a copy was actually placed inside the walls, we have a huge problem looming ahead. The mistakenly claimed original tablet is in Vienna and is made from a limestone cast, the copies are either plaster or limestone. The Australian tablet is obviously neither, there is a white mix that looks like limestone, but there is also an aggregate of rocks, quartz, crystals and possibly salt. All the other copies are basically of the same type, much simpler in make and smaller in height and width than Tracy’s tablet, while this tablet is encrusted with rocks and crystals and took more time in making and skill in creating a more complex mixture.
Which came first? Well there is one tablet that is noticeably different in composition, and happens to be more aged and worn in appearance, the Australian tablet. Even if it wasn’t smashed in transit, it is still very worn. Most of the glyphs were read or guessed with the assistance of a magnifying glass and there were many occasions when that wasn’t enough. The two bottom edges are so worn the glyphs that should be on the edge are gone. Since we know it was sealed off from the elements since sometime in the 1790’s, the aging process evident took place pre-British Invasion.
Another way of Looking at the Glyphs
We envisage a scenario running something like this, the six players acknowledged in different manners on the tablet were the most instrumental Egyptian participants in arranging this accord. Whether Isis and Osiris were alive at the moment is inconsequential as their presence dominates the culture and religion of that time (3,900 years ago).
This party brought gifts and formal requests to farm, build and behave like Egyptians, but only if consent was given. That request was granted and was memorialised on two copies/tablets. The tablet Tracy is protecting is the original and the tablet in Egypt the duplicate copy of this diplomatic and cultural exchange. The prime tablet will be the one that is different from all other copies no matter when made, and that is the case with the Australian tablet and the aggregate that makes up the mould.
That document was kept on the tribal land of the Eora, the ones who gave consent, as it should be. But as it should not be, very soon after the British invasion and occupation began the tablet was found and stolen then hidden between two walls with the intention of coming back at a later time, but due to unforeseen and fortuitous circumstances, or Divine intervention, the thief did not return to collect and depart.
Why be so Dogmatic?
Why couldn’t we say that all of this talk about a treaty could be, as we have always adopted the same equivocation in the past? Many have asked the same question and urged a degree of moderation. Our reply has been consistent, we have no choice. The reason we are running in the opposite direction in our methodology in being so absolute is simple, we have no choice irrespective of our personal concerns. The Original spirits have spoken and spoken, and this time we are hearing and obeying. Somewhere along this journey there had to be a leap of faith, we heard the call and responded accordingly.
Time after time when writing the accompanying article I kept questioning why what was written was so uncharacteristically adamant in respect to this tablet being a legal document. On one occasion I went very close to hedging bets, but I couldn’t follow through as the spirits were begging me to listen and leave this seminal truth, now finally rediscovered, untouched.
On the day I finally relented and agreed that all mention of this treaty, except in the most benign terms be expunged, the spirits made three attempts to intervene and plead their case.
Sean, like all of those from our inner group who were advising moderation, was coming from the right place concerned solely with ‘our best interests.’ I suspect they felt this was just an extreme example of my stubbornness with perhaps an overlay of ego refusing to see common-sense. It was only when sitting out on the back verandah, as I tried to explain why I couldn’t back down and how the spirits were pulling my strings, did two rainforest hawks appear from nowhere and perch 10 metres away and spent the next minute and a half staring intently at me. One was on a branch, the other on the top of a sapling which bowed at 60 degrees and made for a very unsteady perch, it made no difference, despite the rocking and swaying the hawk kept its gaze locked. I called out to Evan and my wife, and they witnessed the same message. I passed this scene on in commentary to Sean, who immediately acknowledged what this meant and no longer objected to my approach.
Within an hour, when in conversation with Ryan and Andy from Wake up World, I relented and agreed to splitting the article and rewriting. As I did so, I felt a soft but noticeable punch in my stomach, slumping in the chair as the air flowed out. It was odd in that it caused absolutely no pain, but had such a noticeable physical reaction.
What was even more odd is that under most rules of engagement what happened when I rang Tracy to explain why I had agreed to an edit after she had seen and agreed to the earlier version, cannot be anything other than a third response to my call for assistance. Not long before I sent a message to an Original Elder of the highest knowledge in Old Ways, for two things, guidance in whether my obstinance was warranted, and secondly if he could give me something I could put in the article to present the Original view on this tablet as to whether it was a treaty. I knew I would get a response and expected it to be correct and cryptic, but nothing quite like this was on my radar.
As I spoke to Tracy with Evan alongside, I began to explain, once again, why I was so strident in insisting what mainstream declare to be a funeral tablet is actually a treaty, and why I had backed down, when Evan interrupted and pointed up into the sky. Another sign from the spirits, two wedged-tailed eagles were spiralling above us as I spoke to the person chosen by the spirits to act as guardian about the tablet’s meaning. In what only confirmed that this was heaven-sent, the wedged-tail eagle is the totem of this Elder, so either he or the spirits, gave their verdict in the affirmative three times. That is the sacred number, three signs in one day at the exact moment this sacred concord is discussed, that is the prime truth we are left with and it is our reality, and obligation.
So there it is, we ‘know’ this is a treaty, but that means nothing, it is our opinion alone and everyone should take no stock in what we believe and decide independently. Irrespective of what we think or declare, the tablet is genuine and Egyptian but belongs to the Original people, in any language and from every perspective that is the truth.

Jane A. Hill, ” Window Between Worlds: The Ankh as a Dominant Theme in Five Middle Kingdom Mortuary Monuments”

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