THE GEOMETRY IN ANCIENT EGYPT

THE GEOMETRY IN ANCIENT EGYPT

Sacred Geometry in Ancient Egypt.The Cosmic Geometry Herodotus, the father of history and a native Greek, stated in 500 BCE: Now, let us talk more of Egypt for it has a lot of admirable things and what one sees there issuperior to any other country. The Ancient Egyptian works, large or small, are admired by all, because they are proportionally harmonious and assuch appeal to our inner as well as outer feelings.

This harmonic design concept is popularly known as sacred geometry—where all figures could be drawn or created using a straight line (not even necessarily a ruler) andcompass, i.e. without measurement (dependent on proportion only).The principles of sacred geometry are of Ancient Egyptian origin, which constituted the basis of harmonic proportions,as evident in their temples, buildings, theology, ...etc. The Ancient Egyptian design followed these principles inwell-detailed canons. Plato himself attested to the longevity of the Egyptian harmonic canon of proportion (sacred geometry), when he stated,That the pictures and statues made ten thousand years ago, are in no one particular better or worse than what they now make.

The key to divine harmonic proportion (sacred geometry) is the relationship between progression of growth andproportion. Harmonic proportion and progression are the essence of the created universe. It is consistent with nature around us. Nature around us follows this harmonious relationship. The natural progression follows a series that is popularized in the West as the "Fibonacci Series".Since this Series was in existence before Fibonacci (born in 1179 CE), it should not bear his name. Fibonacci himself and his Western commentators, did not even claim that it was his "creation". Let us call it as it is—a Summation Series. It is a progressive series, where you start with the first two numbers in the Ancient Egyptian system, i.e. 2 and
3. Then you add their total to the preceding number, and on and on; any figure is the sum of the two preceding ones.
The series would therefore be: 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, . . . This series is reflected throughout nature. The number of seeds in a sunflower, the petals of any flower, the arrangement of pine cones, the growth of a nautilus shell, etc...all follow the same pattern of these series.
The overwhelming evidence indicates that the Summation Series was known to the Ancient Egyptians. Many Ancient Egyptian plans of temples and tombs, throughout the history of Ancient Egypt, show along their longitudinal axis and transversely, dimensions in cubits of 1.72' (0.523 m), giving “in clear” consecutive terms of the Summation Series 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, . . . The Summation Series conforms perfectly with, and can be regarded as an expression of, Egyptian mathematics, which has been defined by everyone as an essentially additive procedure. The summation character of the series, and its use, would be in accord with the practical aspect of Egyptian science. This additivity is obvious in their reduction of multiplication and division to the same process by breaking up higher multiples into a sum of consecutive duplications.