Rock Statues Easter Island

Rocks statues Easter Island

The engraved rock could reveal America's oldest secret. Discounts and promotion A sponsored item is an advertisement for an item that Amazon retailers sell. Clicking on a sponsored ad takes you to an Amazon detail page where you can find out more about the item and buy it. For more information about Amazon sponsored projects, click here. A sponsored item is an advertisement for an item that Amazon retailers sell.

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Isle of Easter: Country of Secrets (2)

Figure 4.1 Unvolished sculpture at Rano Raraku. 887 Moais have been cataloged on Easter Island so far, 397 of them in the Rano Raraku craters. One of the most exceptional and impressive archeological places in the whole wide globe. Many statues were carved there when the activities apparently came to an end abruptly.

Figure 4. 2 statues still in their excavation caves. The most statues of the island are 5. The overwhelming bulk consists of Rano Raraku tuffs, complete with all those built on land. Approximately 55 statues are made of other stones - scaria, basket or trachytes - and smaller than the mean height of 5 meters. The biggest ever made sculpture, El Gigante, is still incomplete in Rano Raraku.

The woodcarvers made the front and sides complete, but never cleared them of the rock. Over 230 ready-made statues were set up on the Aarhus-Plattformen. Up to 15 mai can be placed in a line on a separate deck, with some lines of statues being constructed over the years. They are sturdier and less square than those in the pit, with less accented characteristics and less concavity or striking nose and chin.

Known as Paro, the sculpture that once used to stand on Ahu te Pito Kura is 9.8 metres long and weights 82 tonnes. Its basis is approximately where the hip of the sculpture would be, the limbs are stiff, and the palms, with long slim-fingered, stretch over a belly. Statues' bodily characteristics are not entirely Polynesian.

Figure 4. 5 A plattform sculpture. The early discoverers of Europe had the feeling that the statues of Easter Island were ideols, but it is not known that they bear the name of a godly person, like the makemake, the makemaker of creation. The statues of the coast in the interior are thought to protect the towns by representing the ancestor spirit that they represent, the so-called ukuaku (occult power).

They may also be located near the coast in such a way as to avoid being overrun by the ocean, as the initial colonists had escaped from a partially immersed island. The statues are thought to have been ordered during the elders' lifetimes, but were not placed on the platform until after the person's death.

It was only the statues on the platforms that were given orbits, and in 1978 it was found that the caves were once decorated with nice marinated inlays made of corals and scarlet scales. A number of statues on the platforms also received a scarlet "hat" (pukao), and there are indications that some were coated either scarlet and/or cord.

Their straight lines or concavity contrast clearly with the often curved mouths of the island's wood sculptures, and Max Raphael, an expert in the history of the arts, claimed that the nostrils were formed like a symbol phallic phalalus, while the pouty or prominent thin lines of the mouth with a furrow in between suggest the shape of a snout.

Archipelago people thought the whole mai was a phallus symbo. Concerning the reasons for the extended ear of the statues, H.P. Blavatsky commented on the long-eared statues of Buddha as follows: "The unnatural big ear symbolizes the all-knowledge of knowledge and was intended as a memory of the strength of him who knows and listens to everything, and whose sympathetic charity and attentiveness for all beings cannot miss anything.

A square form between the hands of the by-laws should depict the lumbar cloth carried by chieftains and clergy or a kind of penile mantle. Most statues have detailled woodcarvings on the back, which are often seen as tatooed insignia of status. Several statues also carry woodcarvings of birdwatchers, twin paddle and volva shields, but these seem to be later addition.

Figure 4. 8 This basaltic sculpture, 8. 2 feet high and 4 tonnes in weight, is now in the British Museum. Featuring many empty recesses where statues have been chopped out and 397 statues that can be seen on the external and internal sides to illustrate each stage of the work.

The statues erected at the bottom of the pit are now so deeply in the ground that no one has managed to tear them down. Much of the pit is actually covered by hillside sediments, and many more moors are still there.

Figure 4. 9 A sculpture dug out by Heyerdahl's group. Rano Raraku's yellow-brown tufa is densified volcano fly ash. No. It is not advisable to measure the firmness of the stone on the crumbled external surfaces of the statues. They are as solid as rock under the outside as the outside where they were not exposed to it.

In 1770 the Spaniards hit a sculpture with a pickaxe, and flying sparkles. Eventually an effort was made to head a sculpture, but it ended in collapse and the harm is no more than a handful in the huge throat. It took a member of Heyerdahl's crew half an hours to break off a fist-sized piece of rock in the stone mines.

Other authors seem to disagree and say that the rock under the outside coating is not much tougher than crayon and can also be carved and formed using stoneware only. However, it should be noted that the rock is of very different qualities. Heyerdahl employed six men during the Norway mission who used these implements to design a 5 metre long sculpture.

Rocks were often sprayed with mineral to make them softer, but the pimples quickly became blunt and had to be resharpened or substituted several times. Took them three whole working day to design a sculpture, and then they gave up. First, the carvers opened canals about 60 cm in width and 1.5 metres in depth around a rock and then carved the top, sides and bodies, with the result that they left a quill along the back to attach it to the rock.

Eventually the key was chopped off with the sculpture, which was holded by a stone pack and filling. You had to move the sculpture down the hill (about 55°) without damage to it or other statues on the way down. A few moays had to be let down the steep rock face and then maneuvered over statues that were still being worked on at the edge below.

Fourteen boreholes at the top of Rano Raraku. At the base of the inner and external quarries, the workmen lifted the statues into a vertical posture in pits or on patios, and the carved backs. Why most of the carvings were made before the statues were brought to the platform and even before they were brought down the hillside instead of just removing coarse boulders and taking them to a more comfortable workplace is one of the secrets of the island.

Approximately 200 statues are still on both sides of the cliff, all with their backs to the hills. Though only the tops usually protrude above the ground, they are full statues as on the platform, the highest being over 11 meters (36 feet) high. At the level next to the outside hillside there are about 30 more statues on the top, mostly on the front.

The statues on the craters' hillsides are generally thought to have been waiting to be transported to the platform but have not yet been transported because the persons representing them were not yet killed or because there was no space on the platform or transport ressources. When it was intended to bring all the statues to the platform, it is not clear why some were dismantled inside the craters, as the extra work to get them out of there was necessary.

The statues inside the craters are not supposed to be taken out, many scientists think they should be placed there with a permanent view of the sea. That explains why many more statues have remained completed or incomplete in the stone pit than could ever be installed on them. They are considered some of the oldest and cleanest statues and are almost 40 feet high.

Catherine Routledge, The Secret of Easter Island, Kempton, IL: Adventures Unlimited Press, 1998 (1919), p. 165. The Secrets of Easter Island, London: Jose Miguel Ramírez and Carlos Huber, Easter Island: Jeann-Michel Schwartz, The Secrets of Easter Island, New York: Heyerdahl Thor, Easter Island: Mazière, Mysteries of Easter Island, p. 130-1.

Schwartz, The Secrets of Easter Island, pp. 119, 183, 193. Mystery of Easter Island, London: The Enigmas of Easter Island, New York: Heyerdahl, Easter Island: Mysteries of Easter Island, blackboard is. Ramirez and Huber, Easter Island, pp. 66, 79. The Mysteries of Easter Island, p. 124.

A number of authors have said that high up at the edge of Rano Raraku Craters, there is an open rock caves with a row of rock banks or rock chairs that line the wall towards the craters. Traditionally, seven mages, or mages, would sit together on the bench and combine their magic to run the statues around the island and out of the craters.

But the" open cave" could also be regarded as an usual excavation void from which the sculpture was taken out, and irregular" sit-like" hollows can be found elsewhere in the stone-pit. Statues of a dozen others were taken down here without a trace.

Contemporary mother-of-pearl scientists believe that muscular strength alone is enough to take the statues to the sometimes more than 20 km away village of Mt. O'Ahu. While Heyerdahl's Norway exploration, about 180 men, ladies and kids drew a 10-ton heavy sculpture with two cables over a brief stretch on a sled.

So it would have taken 1500 men to move the 82 tonnes of Paro, and the cables would have to be several centimeters in circumference and 80 meters long. 40 men were able to move a 9 ton heavy replication with this technique in an 1998 by Jo Anne Van Tilburg.

Probably the major issue during transport is not so much the statues' mass (on balance not more than 18 tons), but their frailty, as it was important not to harm the intricate detail that had already been made. During transport on the front or rear side, the statues would have needed substantial enclosures and cushioning with plants to provide protection, as there were no visible traces of ropes or other damages.

There would be a big issue if the crews of men who pull the sled approached the shore deck because they had nowhere to go but into the ocean. Twelve men have lifted a 6-ton rock 15 feet in 1.5 h. In one of them. It has not yet been proven that these techniques can be applied to a medium size and weigh sculpture without harm.

The geologist William Mulloy proposed using a bent Y-shaped carriage from the forks of a large boom on which the sculpture is resting face down. There are two huge peg-legged''V'', which are fastened to the throat of the sculpture with a strap, and when the feet are inclined forward, the cable raises part of the sculpture and relieves the load on the sled.

Therefore the sculpture could be swung forward with the arched belly as a pivoting point or pivoting point. This technology, however, which has never been tested in practical use, attaches particular importance to the delicate neck of the statues, and not all statues have the bellies ideally suited for this arch.

Pavel Pavel, a famous sculptor from the country, found that statues can be walked on their feet. There are two cables at the top of the sculpture, which are used to draw them to each side in turn, while two others are fixed to the bottom and drawn forward in turn.

While one side of the upper line is pulling to tip the sculpture to the right, the other side is pulling the other side of the basis to the front before the reahead. Sides are then changed by the crews, so that the sculpture moves from one side to the other.

A local said that "the statues move erect and make half turns on their round pedestals", and many scientists believe that this is the way they refer to. On the island, in an experimental move, a 2.8 metre (9 ft) large sculpture of 4 or 5 tonnes was transported using this technique; only 3 men were needed to tip it and 5 men to drag it forward.

Likewise, a 4 metre (13 ft) 9 ton sculpture was removed in this manner. So it could have been transported 200 metres a days. That is due to the sophisticated statuette design: the top is so thin in comparison to the voluminous lower part of the belly.

The erect transport prevents taking a vertical sculpture at the stone pit, tilting it onto a carriage and then lifting it up again at the plate. In Wyoming, a 10-ton, 4-meter long replication, corresponding to the smallest 20% of the mai, was carried out by 14 to 21 crew members, but the crisps came from the front of the basis, and the character fell twice.

A lot of scientists say that the statue base does not show the amount of abrasion that is required from this technology. He contradicted: "He said that statues not far from the stone pit have perfect shallow plinths, but the further away they are from the pit, the more their plinths become concave until many of those placed on the platform have curved the corners of their plinths.

Had the statues been erect, they would not have to tip over on a slight incline of 10 or 12° as they have a slightly forward sloping floor - rocks had to be placed under some of them on re-constructed decks so that they would not lean forward. At the descent side of the hill, the sculpture could be turned around and shifted backwards.

It was found out by Love's crew that if they placed a sculpture erect on two trunks cut into skids and then lifted it onto a path of small rolls of wood, it could be transported 45 metres in 2 min. with 25 men and 2 of them. 5 These two techniques must still be tested with higher statues on sheer hills.

Some of the sculptures were assumed to have been carried 500 metres to the bank and then swum on wood or floats around the coastline to the decks. Three highways, each about 3m in width, branched off from Rano Raraku were spotted by Katherine Routledge. Falling statues are lying in certain places of the street, but at very uneven distances.

From Rano Raraku, with one or two holes, the south street can be tracked back almost to the bottom of Rano Kao. There are 29 statues spread out, most of them over 20 feet high and some over 30 feet high. A further street led through a hole in the volcanic face towards the west of the island.

It' s not as frequent as the Südstraße and has 14 statues that continue to diverge as the mountains get further away. There are only 4 statues that cover a stretch of about a nautical miles, but the farthest picture is the biggest that has been moving (36 feet 4 in).

As Routledge wrote: "Rano Raraku was therefore addressed by at least three beautiful alleys, on which the hermit was welcomed at regular interval by a giants of stones who guarded the way to the holy hill. Furthermore, there is evidence that some of the statues on the southeast side of Rano Raraku may have been on a 4th street along this side below the rock, and a southern coastal deck was hit by an alley with 5 or 6 statues.

A lot of explorers do not agree with Routledge and believe that all the statues found between the stone pit and the decks were just moving. However, geologist Christian O'Brien believed that at least 56 of the 61 statues found in the centre of the island today, on and off the beaten track, are where they were to be erected.

Two of them were standing on cobblestones, as were some of the erect statues at the base of Rano Raraku. In the 40 km of streets constructed by Rano Raraku, Charles Love studied about 20 km, concentrating on the three major and several secondary highways. To help the sculptor, various upward and downward gradients were intersected and backfilled, and it is clear that much collaborative work was needed for these streets - in the valley, the filling can be up to one meter or more with loamy ground strata to obtain a level area of about 5 meters with.

A number of sections of the street were incised into the higher flow surfaces, apparently to prevent a level terrain, with pathways that have been intersected into a low profile U or U form, about 5.5 metres in width and 30 centimetres in depth (although in other places the streets seem to be half scarred in the soil rather than in the rock).

There are sections of roads with long rock faces along the shoulder, which seem to be placed in the infill like curbs, while others have a number of pillar openings carved into the rock outside the curbs - probably to house a kind of device for drawing and lifting the sculpture and its frame forwards in some places....

With regard to the method used to move the statues, they add: In addition, the brittle statues were carried to many faraway huts, up and down precipitous mounds and over rocky soil, where there is no sign of any street. The street is called Apai in a table of rugorongo, which was presented by two island inhabitants independent of each other.

As the island was founded and became known to our ancestors, the country was traversed by streets paving with shallow rocks. It is said that the island once had a web of streets that resembled a spider's web and radiated from a key point, perhaps Rano Raraku. Nazca plain is clad with a number of linear and zigzag line, spiral and geometric shapes painted on the deserts surfaces by cutting off the bulk of the vulcanic rocks and blocks and scratching off the terrestrials.

The statues on the present day have all been restored in the last 50 years. During Heyerdahl's 1956 expansion to Ahu Ature Huki, Anakena, the first to be rebuilt was a medium-sized (20 ton) sculpture. 12 inhabitants of the island used two wood piles to lift it 3 metres onto its deck by sliding stones under it, and they had it in only 18 of them.

The use of the lever against the sculpture itself created large scarring. In all previous experimentation, these were horizonal statues, but it is assumed that when they reached their platform erect, the statues could be lifted gradually in the same way, being called first in one way and then in the other, since rocks or trunks were used.

Solid docks do not appear to have been used to lift the statues onto the platform; this would have required enormous quantities of additional work. Figure 5. 8 Repositioning of the sculpture near Ahu Ature Huki. Cukao - the head ornament or "top knot" - is a smooth redscoria cylindrical body obtained from the small Puna Pau craters.

As they have only about 60 statues, it is assumed that they are a belated supplement that is only associated with statues on the biggest and most important decks. Like Rano Raraku, Puna Pau's work seems to have stopped suddenly, as about 30 barrels are inside or outside the pit.

The legends say they were driven by human beings, but the traditional belief is that they were wheeled out of the stone pit and over the hills to their destination. Nobody has demonstrated this in practice, and no trace of evidence has been found that leads out of the craters and over the jagged vulcanic area.

Headgear seems to have been redesigned when they reached the platform. A few were cut into a more elliptic cross-section and a flat slit was made in the bottom; some of the Anakena statues have cones on their faces to attach these cones. Pic5. 10 Outside the volcano. Putting the headgear on the statue's head was an enormous technical masterpiece.

The ones that can be seen today on renovated statues were all erected by a crane (Fig. 5. 11), and not without hinder. A number of scientists have suggested that the top-hatches were tied to the statues and both were lifted together, but this is generally regarded as far too risk. Figure 5. 13 An island dweller with a strump.

Finally, despite the many ideas that have been put forward about the sculpture, transport and installation of statues and their headgear, and despite the many experimentation that has been done, we are still a long way from solving all the puzzles. The Secrets of Easter Island, London:

Heyerdahl Thor, Easter Island: Catherine Routledge, The Secret of Easter Island, Kempton, IL: Adventures Unlimited Press, 1998 (1919), pp. 197-8. The Enigmas of Easter Island, New York: Easter Island, p. 198. Heyerdahl, Easter Island: Heyerdahl, Easter Island: The Mysteries of Easter Island, p. 144.

Jeann-Michel Schwartz, The Secrets of Easter Island, New York:

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