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Lost Technologies of Ancient Egypt (英語) ペーパーバック – 2010/6/24


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"Whether you can fully grasp the intricacies of what he says, he makes it very easy to look at ancient monuments with new eyes, and a greater appreciation for the effort involved in creating them." (Michael Gleason, Reviewer, August 2010)

“. . . Chris Dunn, with over 20 years of investigation, possessing unique technical skills, and showing a keen, perceptive eye for detail, has unlocked the door to knowledge that will eventually overturn established thinking about the civilization we call ‘Ancient Egypt’.” (Alan Glassman, New Dawn Magazine, January 2011)

"I never cease to be astonished by Christopher Dunn's knowledge of ancient Egyptian technology. I believe he knows more of it than any man alive." (Colin Wilson, author of Atlantis and the Kingdom of the Neanderthals, June 2010)

“This is an extremely important and original book. Christopher Dunn indisputably demonstrates that the ancient Egyptians were much more technologically advanced than the vast majority of modern Egyptologists, archaeologists, and historians ever dared imagine.” (Robert M. Schoch, Ph.D., author of Voyages of the Pyramid Builders and Pyramid Quest)

“Christopher Dunn makes a stunningly convincing case that the makers of the ancient Egyptian stone monuments and images possessed sophisticated technologies rivaling our own in terms of their precision and capabilities.” (Michael A. Cremo, author of Forbidden Archeology and Human Devolution)

“Christopher Dunn is an expert in his field. He knows a great deal about stone-cutting tools and has spent many years studying the ancient Egyptian monuments, sculptures, and artifacts. His findings are revolutionary. His word carries weight. If he is right, our perception of who the ancient Egyptians were may completely change. Read this book!” (Robert Bauval, author of The Orion Mystery, Message of the Sphinx and The Egypt Code)

“Christopher Dunn’s painstaking work, literally, makes the ‘stones’ of the Egyptian gods speak. He provides profound archaeological evidence that shows an engineering consistency, suggesting an advanced intelligence, which understood the supreme science of sacred geometry. A must-read book for those who wish to understand the advancement of Egyptology in the world of today.” (J. J. Hurtak, Ph.D., author of The Book of Knowledge: the Keys of Enoch)

“Utilizing almost 50 years of professional experience in engineering, manufacturing, tool-making, and space-age precision, Chris Dunn has provided an in-depth analysis of ancient Egyptian statuary, temples, and manufactured artifacts that has never been presented previously. This outstanding book, supremely well researched, amply illustrated, and complete with detailed photographs, will be cited as a major paradigm shift and reference source in the field for many years to come.” (Stephen S. Mehler, M.A., director of research, Great Pyramid of Giza Research Association)

“Admirers of Egyptian art and architecture are most fortunate that Christopher Dunn directs his experienced engineer’s eye toward the Egyptians’ ancient stonework. By noticing the most minute details he reveals sophisticated craftsmanship and immense significance for all areas of Egyptology. Mathematicians will appreciate the amazing three-dimensional geometry made manifest in very hard stone. Dunn points the way for geometers to uncover sharper, more accurate analyses of the proportions of Egyptian design. This book is an important contribution to scientific scholarship by showing how archaeology can firmly rest on a measurable foundation.” (Michael S. Schneider, author of A Beginner’s Guide to Constructing the Universe)

“In this book, Christopher Dunn has brought to the field of Egyptology a new approach, which has been needed for decades. His ability as an engineer and master craftsman has given him the insight to discover ancient technologies and techniques that have been missed by traditional Egyptologists. This book is a paradigm change for the way of thinking about our ancient history and ancestors. I highly recommend this beautiful illustrated book to both academic and alternative researchers and for anyone interested in new ways of thinking about our ancient past.” (John DeSalvo, Ph.D., author of The Lost Art of Enochian Magic and director of the Great Pyramid of G)

“As with Newton and the apple, Chris Dunn got a vision when visiting Egypt. His engineering background allowed him to unleash incredible facts, and thanks to this highly detailed book, we can now share the same marvels.” (Alain Hubrecht, architect, writer, professor, and founder of the Association Transpersonnelle Belge)

“If you want to see the precise high technologies ancient Egyptians really had, read this book. It is a serious donation to Egyptian legacy and an opus for the future of this planet.” (Antoine Gigal, author, researcher, and president of Giza for Humanity)

“I believe, as Chris Dunn superbly details in this book, that ancient Egyptian sculptors and architects were so precise and their works so monumental that they must have used sophisticated technology, probably hidden in their time and now lost to ours.” (Mike Leckie, stone sculptor)

抜粋

Chapter 5

SHADOWS OF THE SERAPEUM

Before visiting the temples in Upper Egypt, I descended into the shadows of what must be the most confounding and enigmatic archaeological site in the world--the Serapeum.  The site has little left above ground to identify it except a gaffirs’ hut and low walls on both sides of an inclined path that lead to formidable dungeonlike iron doors.  Attached to the iron bars that form a transom above the doors there is a sign in Arabic and English that reads:

SERAPEUM DYN XVIII PTOLEMY XII C.1405–30 B.C.E

Though dark and dusty, the Serapeum was a welcome relief from the heat.  Shadows were thrown at intervals along the numerous tunnels by incandescent bulbs, and alcoves or crypts cut at right angles on each side of the tunnel made the place even more mysterious.  Both the tunnels and the crypts had barrel-shaped, vaulted ceilings that had suffered damage over the millennia with places where large pieces of limestone had separated from the bedrock and fallen.  Some areas had wooden frames with thick plywood sheets on top for protection.  A fine dust kicked up from the floor hung in the air.

In the center of each crypt was placed a large granite box with a lid on top.  All of the boxes were finished on the inside and the bottom side of the lid, but not all were finished on the outside.  It appears that work stopped suddenly in the Serapeum, for there were boxes in several stages of completion: boxes with lids, boxes that yet had to have the lid placed on them, and a rough box and lid near the entrance.

The historical explanation for the boxes in the Serapeum is that they were funerary sarcophagi used to hold the carcass of the sacred Apis Bulleven.  The Apis Bull was considered to be a god by the ancient Egyptians, and the Serapeum was reputed to house the burial vaults of the Apis cult.  Bull heads were found in niches in the tunnels, and a statue of a bull was retrieved from the tunnels and now sits in the Louvre Museum in Paris. 

The ancient Egyptians worshipped the Apis as a god, and a search was made throughout the land for a replacement of a bull that died or was about to be sacrificed.  When an Apis died, there was mourning throughout the land and a self-imposed celibacy.  Until another Apis with the specific markings was found, there was no sex.  To say that the mourners were motivated to find one, and in a hurry, would be an understatement.  Once found, the new god incarnate was installed with celebration and joy, in that continuity of the Apis god among the Egyptians was assured and signifying that the heavens were pleased and the land and its people would be protected and flourish.

One of the crypts has a granite box that has a corner broken out of it and is accessible by means of steps down to the lower floor.  The outside of the box appeared to be roughly finished, but the glint of a high polish on the inside surfaces beckoned me to climb inside.  Running my hand along the surface of the granite reminded me of the thousands of times I have run my hand along a granite surface plate when I was working as a machinist and later as a tool and die maker.  The feel of the stone was no different, though I was not sure of its flatness, or precision.  To check my impression I placed the edge of my precision-ground parallel against the surface--and saw that it was dead flat.  There was no light showing through the interface of the steel and the stone, as there would be if the surface was concave, and there was no rocking back and forth along the length of the steel, as there would be if the surface was convex.  To put it mildly, I was astounded.  I did not expect to find such precision, because this order of precision is not necessary for the sarcophagus of a bull, or any other animal or human.

I slid the parallel along the surface both horizontally and vertically, and there was no deviation from a true flat surface, similar to precision-ground surface plates used in manufacturing to verify precisely machined parts that require extremely accurate surfaces and dimensions.  Those familiar with the relationship between gauges and surface plates understand that the accuracy of the reading is constrained to the length of the gauge with which the comparative check is made.  In other words, the gauge may show that the stone is flat within the tolerance of the gauge--in this case .0002 inch (.00508 mm) flatness.  However, if the gauge is moved six inches along the stone surface and the same conditions are found, it cannot be claimed with certainty that the stone is within the same tolerance over the full 12 inches--unless the plate has been inspected by another means and is calibrated to a known standard.  In light of this, I determined that a longer straightedge was needed and, preferably, even more sophisticated alignment equipment before I could come to any further conclusions.

Returning to the hotel that evening, my mind was consumed by what I had seen.  These artifacts were precision-crafted boxes on a very large scale.  It just didn’t make sense to think that the ancient Egyptians would pour such resources into manufacturing a coffin while the mausoleum where the God Apis rested was rough cut and undecorated.  Once the lid was on top of the box, nobody would see the perfectly flat and polished surfaces or the conformity to orthogonal precision.

But I am not thinking like an Egyptian or an Egyptologist.  I am thinking like an engineer, and the challenges that these boxes would present to an engineer with modern stone-working tools are significant.

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92 人中、91人の方が、「このレビューが参考になった」と投票しています。
A Fascinating Read That Won't Disappoint 2010/7/16
投稿者 Jay W. Lundgreen - (Amazon.com)
形式: ペーパーバック Amazonで購入
Having read Dunn's first book, The Giza Power Plant, at least a dozen times, I must say that this work represents a big step forward. The previous book by Dunn left me starving for more information about ancient Egypt and their technologocal prowess. This book delivers that in spades. Not only has the level of detail been amplified, but it is clear that the author has become a lot more comfortable with the written word. His voice is clear and confident and each chapter has been edited and polished quite a bit.

For a very casual reader the book may seem a little bit intimidating due to its technical nature, but Dunn does a superb job of finding the balance between too technical and not detailed enough. The end result is a book that is very easy to read and one that presents an extremely compelling bunch of evidence regarding what the ancient Egyptians were actually capable of.

I found myself re-reading several chapters, not because I didn't understand them, but beacause what I had read was so astounding that I needed another read through just to let it sink in. This is a truly remarkable book that is surely to become one of the "standard works" in the field.
91 人中、88人の方が、「このレビューが参考になった」と投票しています。
Don't Let the Title Fool You 2010/8/5
投稿者 Patrick - (Amazon.com)
形式: ペーパーバック
Here is a book the world has been waiting for. Do not let the clinical sounding title fool you, either. If they had asked me, I'd have called it The Joy of Discovery: A Humble Materials Engineer's Adventures In Ancient Egypt. It's a great ride, not a text book. It is a truly rigorous analysis of the artifacts the ancient Egyptians left behind, but it's also the story that surrounds Chris Dunn's exploration of this astonishing world. It makes you feel like you were along on an amazing adventure.

Dunn wrote the indispensable The Giza Power Plant, an astonishing analysis of the Great Pyramid, and his fans have been eagerly awaiting this new effort. None will be disappointed. This time, he's writing about the places in Egypt many of us have overlooked. Trust me, the Ramses statues at Luxor are every bit as astounding an accomplishment as the Great Pyramid, although I had no idea 'til I read this book.

Dunn has been a materials engineer for decades. He works for a company that you might hire if you have an idea on paper, a drawing, for instance, and want someone to make a physical object out of it in stone or steel. When he looks at a cell phone, his mind sees the tools that were required to make the curved plastic shell the guts of the phone are packaged in. It's how his mind works. So where most of us glance at nice statues and columns, and walk on to the next nice thing to glance at, Chris Dunn stops in his tracks. How did they DO that?, he asks. He photographs them, and subjects the photos to cutting edge Computer Aided Design analysis. He measures them carefully. He zooms in, and notices almost invisible flaws that are evidence of the manufacturing processes that human beings used to craft these objects.

He's cheerful amateur. The world of academic egyptology is as stodgy and calcified as any stuffy field. Dunn has no credentials there. But he has a fresh set of eyes, and a mind not preprogrammed to interpret what he sees when he looks at these artifacts. Egyptologists have no doubt that these masterfully crafted objects were created using stone and soft copper tools, even though the objects are made of the hardest stone, granite, which even we in our advanced stage of technology find quite difficult to work. Dunn sees the extreme depth of very narrow, very sharp-edged engraving in a granite obelisk, and knows better. It's impossible.

But he has no agenda. You never sense he has an ax to grind. He's unfailingly kind and respectful of all he encounters, even when the reader (me) would have reacted with scathing sarcasm when presented with preposterous propositions (like the idea that deep, sharp, curved, writing can be cut into granite with copper chisels).

He never hypes the possible implications of his findings, but presents them with the hope that others will replicate them, and carry on the work. In fact, he often takes the opportunity to revisit his prior speculations, from The Giza Power Plant, and corrects them when he finds out he was wrong. Science at its best.

Reading the book, we see his life in this realm unfolding, almost reluctantly, like an old road map. We learn that his normal life, his job,
constrained his options to travel (only so many vacation days in a straight job), but his employer came to recognize the value of what he was
doing in his avocation, and made it possible for him to travel back to Egypt many times, as he discovered more clues and found he needed better pictures and measurements. What a joy it is to learn that.

Another thing we see is how the greats of the new egyptology (as I think of it) befriended Chris Dunn, which is incredibly heartening, considering that his work draws elements of their theories into question. I love that, even though only those who've read Robert Bauval, Graham Hancock, John Anthony West, et al, would notice it--all Dunn does is mention their kindnesses to him. I detect a collegiality going on there. Dunn comes across as a cheerful amateur with no agenda, who delights to finds himself amongst the stars, but never becomes star struck. Just pursuing the questions, and happy to be doing it.

And everything he was doing through those years was as consequential as any of the greats who befriended him. It's a very good life we get a glimpse into.

Dunn's two books are essential to our understanding of the ancient world. I'd say they are the launching pad for a whole new realm of research, and can't wait to read all the books that come out of the researchers who pick up the glove he's thrown down.

Ever since I stumbled upon Tompkins, 25 or so years ago, I've described the Great Pyramid as a glove the ancients have thrown down, a challenge
for all of us to pick up. I've read Hancock and the rest, with great delight, but it was The Giza Power Plant that caused me to regale
friends--and in doing so I always say that Chris Dunn is simply a materials engineer who picked up the glove the ancients threw down, and went
to the trouble of describing that challenge in a way that challenges us all to do the same. The rest of the great writers in this category (the independent analysts not connected to academic egyptology) tend to
include a metaphysical theory to explain what we find in Egypt, but Dunn is a pure scientist. A pure scientist, moreover, who writes to
to the rest of us. He carefully measures the artifacts, and presents the physical requirements involved in making that happen. He doesn't ask WHY they made these things, he asks HOW they did it. And he asks how WE would go about it if called upon to duplicate those achievements.

The new book throws down that familiar old glove with new alacrity. It is delightful.
47 人中、44人の方が、「このレビューが参考になった」と投票しています。
Buy this erudite book 2010/7/14
投稿者 H. Lehmann - (Amazon.com)
形式: ペーパーバック Amazonで購入
This is, said with familiarity of what has been written, the most important book on ancient Egypt since the 1971 publication of Secrets of the Great Pyramid by Peter Tompkins and Livio Catullo Stecchini. It is a good buy even for a person of casual interest, because, due to the excellent color photographic plates, it would be a stunner of a coffee table book.

In the law, there are three commonly encountered standards of proof: 1) A preponderance of the evidence, sometimes taught as "just over half," -- enough to prove the point: 2) Clear and Convincing evidence, which means what it says, evidence so strong that a reasonable person would be convinced by it, and: 3) Unlike the preceding two, which are civil law terms, the proof standard of "beyond a reasonable doubt," which is the hurtle to be met by a jury in a criminal case. Dunn, like Flinders Petrie long before him (who wrote convincingly of the use of high speed lathes in ancient Egypt), writes with a level of detailed example not previously seen, and provides, at the least, clear and convincing evidence of the use of powerful large machine tools of very high calibration as having been necessarily used to obtain the exquisitely detailed and bilaterally symmetrical statuary to be found in those places in Egypt to which he has turned his camera, tripod, CAD capable computers, and decades of engineering skill.

This book is a "10," and a very important intellectual achievement, capable of being recognized as an opened window to the panorama of high machine technology from an epoch long ago. It is suggested that the writings of Charles Hapgood, particularly the now-titled Path of the Pole, to which Albert Einstein committed an endorsing Forward, is one of the logical sources of companion reading for this masterful work, cumulatively providing, perhaps, clues to the long time line upon which we proceed; if, intellectually Dunn be a rebel, he is a well documented one, with a clear cause, that being respect for accuracy, including as to the past, as only that can provide a firm foundation for reasoned contemplation of the future.
15 人中、15人の方が、「このレビューが参考になった」と投票しています。
This book gives glory to the geniuses who created the temples in ancient Egypt! 2010/8/8
投稿者 Steven Myers - (Amazon.com)
形式: ペーパーバック Amazonで購入
Christopher Dunn has created a masterpiece in his quest to understand the extreme precision and high technology used in stone cutting in ancient Egypt. This book is at times highly technical but it needs to be because so is the subject matter. His book gives glory to the ancient but extremely advanced engineers and stonecutters who created the sculpture and temples of the Nile valley.

Reading Dunn's book will change your understanding of our distant past. At the very least after reading his book you will have to understand that the stories told by Egyptologists are wrong. You will understand that the books written by Egyptologists which are in the libraries around the world are filled with errors, unscientific storytelling presented as fact, and disingenuous information. This book will compel you to come to the realization that virtually everything Egyptologists say about how the temples were made and the stones were cut is incorrect.

If you are interested in breaking away from the myths and fables of Egyptology and want to replace those falsehoods with a truer understanding of the high technology possessed by people in ancient Egypt than you must read this book!
15 人中、14人の方が、「このレビューが参考になった」と投票しています。
Truly a most important scientific discovery 2010/7/18
投稿者 RandyHiatt - (Amazon.com)
形式: ペーパーバック Amazonで購入
Chris,

I wanted to tell you how excited I am about your important new book "Lost Technologies of Ancient Egypt. I just received my copy and have started my slow, deliberate consumption.
Your collection of images and illustrations are the food I need. Well, except for the need to now visit these sites! I will give you a complete review when I get thru it.

This subject is at my very core, always nagging me for more real data/detail since most of my research has left me still hungry (believe me I have devoured most that is available on these subjects).

I too work for a large aerospace company (25yrs) and have many close friends who are tooling and metrology guru's. I must say the looks on their faces when I shared a few pictures with them at lunch today (priceless!). That 'type' is pretty well cemented in today's gathering of knowledge, so this type of evidence caused a bit of a hic-up in their response. I love to make them think for themselves, I can tell it hurts :) Your work is very important.

I have a request/question in your research.

I see these tooling marks, especially the drilling cores with what appears to be a continuous grove spiraling around like an old Edison Cylinder. Have you ever thought of 'playing' these grooves like a record? There are methods to do this graphically/digitally (a graphic representation of the groove is re-converted to audio) ...used in the process of old vinyl restoration. I'm not expecting to hear music or even intended audio but I thought the sound may lend itself to understanding the machine used to make such grooves. Just a thought.

Again, congratulations on a most important body of work (love your Ghiza Power Plant work as well),

Randy Hiatt
Seattle
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