Saqqara_Tablet_JTEUcosmos

There is no evidence that this puzzle has anything to do with Imhotep, Zoser, or the third dynasty of Ancient Egypt. All that we have is a puzzle by name, a picture in a book, and an anecdotal account of the artifact being found in the ruins of the step-pyramid at Saqqara and being purchased and analyzed by well-known Egyptologist/mathematician Dr. S. Kirederf in Cairo around 1920. Said to be exquisitely fashioned from red granite and black onyx inlaid with white alabaster it is not something likely to be hoaxed particularly given the sophisticated level of the mathematics involved. Many attempts to locate the artifact or even a written record of its existence have produced nothing. No artwork, inscription, or artifact researched so far has been even similar as regards the mural contents and most amazingly of all, the very stylized Hindu-Arabic numerals associated with the Base-10 positional number system. A system that first appeared in our current historical record around 800 A.D. and the concept of Zero only much later. There are also many other curious contradictions and inconsistencies regarding the given time-frame. Such as the presence of a horse and chariot, historically thought to have been brought to Egypt by the Hyksos Warriors around 1600 B.C. There is also a recurved long-bow and an unbraced harp, a sickle, a loom, and a churn. There also seems to be a mixture of motifs, largely Egyptian references, but also Greek, and possibly Indian and/or Persian influences. Taken together with what is known of the period the evidence points to Alexander and the Ptolemies (300 B.C.) and was most likely produced during that era as a mythic depiction of what was even for them the distant past, the Kingdom of Zoser at Saqqara, with its legendary archetypes, heroes, high mathematics, and state-of-the-art technology while apparently allowing for a good deal of intellectual and artistic license. An alternative to such conjecture is that it was a tribute made by artisans from another country such as Phoenicia, Minoa, Babylon, or elsewhere which might explain the unusual style. On the other hand it might be an authentic relic from Saqqara which would make it much, much, older. What is depicted is an idealized kingdom complete with a formidable well equipped defense, marvelous arts, music, story telling and dance, along with a work-force of domesticated humans and a work-force of domesticated animals. The uncrowned King is seated in the West between Lotus Pillars, he holds the rod and flail of the Pharaoh, one the symbol of benevolent guidance and the other the symbol of decisive force. Facing him are his General, most likely the Prince, and his Heirophant who holds the Ma'ab. Powering and sustaining the Kingdom from within the very foundation of the pyramid is the mumified Ancestor, the Osiris, the Foundation who sleeps forever in his sarcophagus beneath the magic preserving spell of numbers. His soul, reverently represented as the number seven sits atop the pyramid in the form of a bird about to take flight, specifically a flamingo.

(excerpt from The Architecture of Infinity)