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- Herausgeber: Books on Demand
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2016
Maltas greatest Enigma revealed ! The Maltese Tal Qadi Stone on which celestial navigation charts for the Mediterranean and Black Sea as well as a seaworthy Phoenician birdship were represented, is a maritime navigation instrument as proposed by Isaac Newton according to which heavenly constellations enable navigation on sea routes.
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Artandscience.de
Dedicated to my family – especially the Maltese one, Nadine and Frank and to the wonderful people of Malta
Illustration 1:Tal Qadi Stone from the Archaeological Museum in Valletta, Malta (oblique illumination)
Sponsored by: Andreas Kuemmert,
Active Fund Placement
“Performance matters“
Inhaltsverzeichnis
Status Quo of research
Previous theories
2.1. Crescent Moon theory
2.2. Temple theory
Preview of scientific aesthetic re-evaluation
Motivation
Methodological Aspects
5.1. The WIRTH Method
New Interpretation of Engravings: Steps of Analysis
6.1. Refutation of "Crescent Moon" and "Temple entrance" as “Birdboat”
6.2. Closer Definition of the Type of Ship – Image Hermeneutics
6.3. Philistines and Phoenicians
6.3.1 Summary: Preliminary Findings 1: Analysis of "Moon engraving" on the Celestial Stone of Malta
New Interpretation of the Celestial Incision Sequences
7.1. Scorpio
7.2. Virgo
7.3. Leo
7.4. Further Classifications
Summary of Findings of the Aesthetic-scientific Analysis of Constellation Sequences on the Celestial Slab of Malta
Consequences for Future Research Projects
Zodiacal Constellations as Navigation Aids for Mediterranean and Black Sea
11.1. Double Proof
“The Tal Qadi Stone is one of the 10 most important archaeological findings worldwide and a unique symbol for Malta having been the center of transeuropean trading and cultural exchange in Europe. No other archeological slab compares with it!”
Dr. Kai Helge Wirth, New York 2016
1. Status Quo of research
The engraved slab discovered on Malta and exhibited in Valletta's Museum of Archaeology has been the object of several interpretative studies. Previous theories have claimed the following assertions:
The gravures represent a moon
The gravures show astral constellations
The gravures are to preserve priest knowledge
The gravures are to show the entrance to a temple
The gravures' purpose is to evoke multiple impressions
To validate an interpretation of the slab some aspects must be ignored, others added
The artefact is approximately dated at 3000 years B.C.
2. Previous theories
2.1. Crescent Moon theory
In his work "Kosmische Kultstätten der Welt, von Stonehenge bis zu den Maya-Tempeln" Ken Taylor develops the theory that the engraving in the star-free zone represents the Moon.1
The claim of a crescent Moon on the Maltese slab is based on the methodology of analogy. Only those aspects of the image have been considered that correspond with other familiar and comparable representations.
When, however, a procedure of strict formal analysis is applied, whereby actual formal elements of the total work and its correlations are studied, results based on actual analysis can be reached, far removed from personal interpretation or mere association.
This procedure has been convincingly applied in the analyses performed by Prof. H.W.Wirth.2
Under such close examination of the form it becomes apparent that we are dealing with neither semi- nor third- circular part that might justify identification with the Moon. On the contrary: close scrutiny and correct illumination leave no doubt that the engraving was performed to a high degree of subtle differentiation3.
In fact there exists a totally different overall picture.(cf. III.10)
Conclusion 1
The "Moon Theory“ is proven untenable on the basis of aesthetic form analysis.
2.2. Temple theory
A second theory the Templetheory presents the idea that astral symbols and a temple entrance are depicted on the stone. The crescent- shaped form interpreted as crescent moon in the aforesaid theory is deemed to show the temple entrance of Tal Quadi, the place where the stone was found. Astral groups depicted in limited zones are said to correspond to three definite signs of the zodiac. The author writes that his research is drawn from images on a Celtic sword, that, in his view, are deemed to show the Plejades. By virtue of analogy K. reaches the conclusion that these Plejades might be represented here. On the basis of this assumption he interprets the other two astral constellations as neighbouring zodiac signs Taurus and Perseus. One star in the zone in the vicinity of "Taurus“ is not defined but named either "Beteigeuze“, "Sirius" or "Rigel“. An initial critical aspect in K.'s theory from an aesthetic standpoint lies in the method of object perception based on imaginative interpretation.
