As a Friday essay: why traditional Persian music should be known to the world, Darius Sepehri, of University of Sydney goes through all aspects of why today’s Iran cultural heritage should be appreciated. The author confronting life in today’s world recalls the Traditional Persian Music through remembering his own personal origin rooted in the world’s first superpower that is the Persian Empire under Cyrus the Great.
Weaving through the rooms of my Brisbane childhood home, carried on the languid, humid, sub-tropical air, was the sound of an Iranian tenor singing 800-year old Persian poems of love. I was in primary school, playing cricket in the streets, riding a BMX with the other boys, stuck at home reading during the heavy rains typical of Queensland.
I had an active, exterior life that was lived on Australian terms, suburban, grounded in English, and easy-going. At the same time, thanks to my mother’s listening habits, courtesy of the tapes and CDs she bought back from trips to Iran, my interior life was being invisibly nourished by something radically other, by a soundscape invoking a world beyond the mundane, and an aesthetic dimension rooted in a sense of transcendence and spiritual longing for the Divine.
I was listening to traditional Persian music (museghi-ye sonnati). This music is the indigenous music of Iran, although it is also performed and maintained in Persian-speaking countries such as Afghanistan and Tajikistan. It has ancient connections to traditional Indian music, as well as more recent ones to Arabic and Turkish modal music.
It is a world-class art that incorporates not only performance but also the science and theory of music and sound. It is, therefore, a body of knowledge, encoding a way of knowing the world and being. The following track is something of what I might have heard in my childhood:
Playing kamancheh, a bowed spike-fiddle, is Kayhān Kalhor, while the singer is the undisputed master of vocals in Persian music, ostād (meaning “maestro”) Mohammad Reza Shajarian. He is singing in the classical vocal style, āvāz, that is the heart of this music.
A non-metric style placing great creative demands on singers, āvāz is improvised along set melodic lines memorised by heart. Without a fixed beat, the vocalist sings with rhythms resembling speech, but speech heightened to an intensified state. This style bears great similarity to the sean-nos style of Ireland, which is also ornamented and non-rhythmic, although sean-nos is totally unaccompanied, unlike Persian āvāz in which the singer is often accompanied by a single stringed instrument.
A somewhat more unorthodox example of āvāz is the following, sung by Alireza Ghorbāni with a synthesised sound underneath his voice rather than any Persian instrument. It creates a hypnotic effect.
Even listeners unfamiliar with Persian music should be able to hear the intensity in the voices of Ghorbāni and Shajarian. Passion is paramount, but passion refined and sublimated so that longing and desire break through ordinary habituated consciousness to point to something unlimited, such as an overwhelming sense of the beyond.
Beyond media contrived images
The traditional poetry and music of Iran aim to create a threshold space, a zone of mystery; a psycho-emotional terrain of suffering, melancholy, death and loss, but also of authentic joy, ecstasy, and hope.
Traditional Persian music matters in this context of escalating aggression because it is a rich, creative artform, still living and cherished. It binds Iranians in a shared culture that constitutes the authentic life of the people and the country, as opposed to the contrived image of Iran presented in Western media that begins and ends with politics.
This is a thoroughly soulful music, akin not in form but in soulfulness with artists such as John Coltrane or Van Morrison. In the Persian tradition, music is not only for pleasure but has a transformative purpose. Sound is meant to effect a change in the listener’s consciousness, to bring them into a spiritual state (hāl).
Like other ancient systems, in the Persian tradition, the perfection of the formal structures of beautiful music is believed to come from God, as in the Pythagorean phrase, the “music of the spheres.”
Because traditional Persian music has been heavily influenced by Sufism, the mystical aspect of Islam, many rhythmic performances (tasnif, as opposed to āvāz) can (distantly) recall the sounds of Sufi musical ceremonies (sama), with forceful, trance-inducing rhythms. (For instance in this Rumi performance by Alireza Eftekhari).
Even when slow, traditional Persian music is still passionate and ardent in mood, such as this performance of Rumi by Homayoun Shajarian, son of Mohammad-Reza:
Another link with traditional Celtic music is the grief that runs through Persian music, as can be heard in this instrumental by Kalhor.
Grief and sorrow always work in tandem with joy and ecstasy to create soundscapes that evoke longing and mystery.
Connections with classical poetry
The work of classical poets such as Rumi, Hāfez, Sa’di, Attār, and Omar Khayyām forms the lyrical basis of compositions in traditional Persian music. The rhythmic structure of the music is based on the prosodic system that poetry uses (aruz), a cycle of short and long syllables.
Singers must therefore, be masters not only at singing but know Persian poetry and its metrical aspects intimately. Skilled vocalists must be able to interpret poems. Lines or phrases can be extended or repeated, or enhanced with vocal ornaments.
Thus, even for a Persian speaker who knows the poems being sung, Persian music can still reveal new interpretations. Here, for example (from 10:00 to 25:00 mins) is another example of Rumi by M.R. Shajarian:
This is a charity concert from 2003 in Bam, Iran after a horrendous earthquake destroyed the town. Rumi’s poem is renowned among Persian speakers, but here Mohammad-Reza Shajarian sings it with such passion and emotional intensity that it sounds fresh and revelatory.
“Without everyone else it’s possible,” Rumi says, “Without you, life is not liveable.”
While such lines are originally drawn from the tradition of non-religious love poems, in Rumi’s poems the address to the beloved becomes mystical, otherworldly. After a tragedy such as the earthquake, these lyrics can take on special urgency in the present.
When people listen to traditional music, they, like the singers, remain still. Audiences are transfixed and transported.
According to Sufi cosmology, all melodious sounds erupt forth from a world of silence. In Sufism, silence is the condition of the innermost chambers of the human heart, its core (fuad), which is likened to a throne from which the Divine Presence radiates.
Because of this connection with the intelligence and awareness of the heart, many performers of traditional Persian music understand that it must be played through self-forgetting, as beautifully explained here by master Amir Koushkani:
Persian music has roughly twelve modal systems, each known as a dastgah. Each dastgah collects melodic models that are skeletal frameworks upon which performers improvise in the moment. The spiritual aspect of Persian music is made most manifest in this improvisation.
Shajarian has said that the core of traditional music is concentration (tamarkoz), by which he means not only the mind but the whole human awareness. It is a mystical and contemplative music.
The highly melodic nature of Persian music also facilitates expressiveness. Unlike Western classical music, there is very sparing use of harmony. This, and the fact that like other world musical traditions it includes microtonal intervals, may make traditional Persian music odd at first listen for Western audiences.
Solo performances are important to traditional Persian music. In a concert, soloists may be accompanied by another instrument with a series of call-and-response type echoes and recapitulations of melodic phrases.
Similarly, here playing the barbat, a Persian variant of the oud, maestro Hossein Behrooznia shows how percussion and plucked string instruments can forge interwoven melodic structures that create hypnotic soundscapes:
The roots of traditional Persian music go back to ancient pre-Islamic Persian civilisation, with archaeological evidence of arched harps (a harp in the shape of a bow with a sound box at the lower end), having been used in rituals in Iran as early as 3100BC.
Under the pre-Islamic Parthian (247BC-224AD) and Sasanian (224-651AD) kingdoms, in addition to musical performances on Zoroastrian holy days, music was elevated to an aristocratic art at royal courts.
Centuries after the Sasanians, after the Arab invasion of Iran, Sufi metaphysics brought a new spiritual intelligence to Persian music. Spiritual substance is transmitted through rhythm, metaphors and symbolism, melodies, vocal delivery, instrumentation, composition, and even the etiquette and co-ordination of performances.
The main instruments used today go back to ancient Iran. Among others, there is the tār, the six-stringed fretted lute; ney, the vertical reed flute that is important to Rumi’s poetry as a symbol of the human soul crying out in joy or grief; daf, a frame drum important in Sufi ritual; and the setār, a wooden four-stringed lute.
The tār, made of mulberry wood and stretch lambskin, is used to create vibrations that affect the heart and the body’s energies and a central instrument for composition. It is played here by master Hossein Alizadeh and here by master Dariush Talai.
Music, gardens, and beauty
Traditional Persian music not only cross-pollinates with poetry, but with other arts and crafts. At its simplest, this means performing with traditional dress and carpets on stage. In a more symphonic mode of production, an overflow of beauty can be created, such as in this popular and enchanting performance by the group Mahbanu:
They perform in a garden: of course. Iranians love gardens, which have a deeply symbolic and spiritual meaning as a sign or manifestation of Divine splendour. Our word paradise, in fact, comes from the Ancient Persian word, para-daiza, meaning “walled garden”. The walled garden tended and irrigated, represents in Persian tradition the cultivation of the soul, an inner garden or inner paradise.
The traditional costumes of the band (as with much folk dress around the world) are elegant, colourful, resplendent, yet also modest. The lyrics are tinged with Sufi thought, the poet-lover lamenting the distance of the beloved but proclaiming the sufficiency of staying in unconsumed desire.
As a young boy, I grasped the otherness of Persian music intuitively. I found its timeless spiritual beauty and interiority had no discernible connection with my quotidian, material Australian existence.
Persian music and arts, like other traditional systems, gives a kind of “food” for the soul and spirit that has been destroyed in the West by the dominance of rationalism and capitalism. For 20 years since my boyhood, traditional Persian culture has anchored my identity, healed and replenished my wounded heart, matured my soul, and allowed me to avoid the sense of being without roots in which so many unfortunately find themselves today.
It constitutes a world of beauty and wisdom that is a rich gift to the whole world, standing alongside Irano-Islamic architecture and Iranian garden design.
The problem is the difficulty of sharing this richness with the world. In an age of hyper-communication, why is the beauty of Persian music (or the beauty of traditional arts of many other cultures for that matter) so rarely disseminated? Much of the fault lies with corporate media.
Mahbanu, who can also be heard here performing a well-known Rumi poem, are mostly female. But readers will very likely not have heard about them, or any of the other rising female musicians and singers of Persian music. According to master-teachers such as Shajarian, there are now often as many female students as male in traditional music schools such as his.
Almost everyone has seen, however through corporate media, the same cliched images of an angry mob of Iranians chanting, soldiers goose-stepping, missile launches, or leaders in rhetorical flight denouncing something. Ordinary Iranian people themselves are almost never heard from directly, and their creativity rarely shown.
The lead singer of the Mahbanu group, Sahar Mohammadi, is a phenomenally talented singer of the āvāz style, as heard here when she performs in the mournful abu ata mode. She may, indeed, be the best contemporary female vocalist. Yet she is unheard of outside of Iran and small circles of connoisseurs mainly in Europe.
A list of outstanding modern Iranian women poets and musicians requires its own article. Here I will list some of the outstanding singers, very briefly. From an older generation we may mention the master Parisa (discussed below), and Afsaneh Rasaei. Current singers of great talent include, among others, Mahdieh Mohammadkhani, Homa Niknam, Mahileh Moradi, and the mesmerising Sepideh Raissadat.
Finally, one of my favourites is the marvellous Haleh Seifizadeh, whose enchanting singing in a Moscow church suits the space perfectly.
The beloved Shajarian
Tenor Mohammad-Reza Shajarian is by far the most beloved and renowned voice of traditional Persian music. To truly understand his prowess, we can listen to him performing a lyric of the 13th century poet Sa’di:
As heard here, traditional Persian music is at once heavy and serious in its intent, yet expansive and tranquil in its effect. Shajarian begins by singing the word Yār, meaning “beloved”, with an ornamental trill. These trills, called tahrir, are made by rapidly closing the glottis, effectively breaking the notes (the effect is reminiscent of Swiss yodeling).
By singing rapidly and high in the vocal range, a virtuoso display of vocal prowess is created imitating a nightingale, the symbol with whom the poet and singer are most compared in Persian traditional music and poetry. Nightingales symbolise the besotted, suffering, and faithful lover. (For those interested, Homayoun Shajarian, explains the technique in this video).
As with many singers, the great Parisa heard here in a wonderful concert from pre-revolutionary Iran, learned her command of tahrir partly from Shajarian. With her voice, in particular, the similarity to a nightingale’s trilling is clear.
Nourishing hearts and souls
The majority of Iran’s 80 million population are under 30 years of age. Not all are involved in traditional culture. Some prefer to make hip-hop or heavy-metal, or theatre or cinema. Still, there are many young Iranians expressing themselves through poetry (the country’s most important art form) and traditional music.
National and cultural identity for Iranians is marked by a sense of having a tradition, of being rooted in ancient origins, and of carrying something of great cultural significance from past generations, to be preserved for the future as repository of knowledge and wisdom. This precious thing that is handed down persists while political systems change.
Iran’s traditional music carries messages of beauty, joy, sorrow and love from the heart of the Iranian people to the world. These messages are not simply of a national character, but universally human, albeit inflected by Iranian history and mentality.
This is why traditional Persian music should be known to the world. Ever since its melodies first pierced my room in Brisbane, ever since it began to transport me to places of the spirit years ago, I’ve wondered if it could also perhaps nourish the hearts and souls of some of my fellow Australians, across the gulf of language, history, and time.
There are many challenges facing Arab media, starting with national newspapers, news sources, magazines to television stations due to digital incursion, which trespasses geographical boundaries, putting an end to monopoly in the fields of communication that were once the task of giant institutions operating on a global scale. Thus, it is highly recommended to help users and the audience identify false news that has become a phenomenon.
In the past decade, advertising resources for print media fell by two-thirds. The distribution of national newspapers dropped as well, either because of digital copies due to easy access to the Internet by the audience or because many advertisers prefer posting their ads online. Newspapers’ revenues as a result have dropped remarkably. Publishers rely on ads that have now been fully automated and based on traffic volume on news sites.
The question that arises is: Who is responsible for this decline of regional media and lack of professional craftsmanship? The dilemma lies in the collective responsibility of individuals and the media. For example, many people follow social media celebrities, who have millions of followers without providing any useful content. Thus, fame at present does not require people to appear on television and satellite channels, as some Youtubers and Instagrammers have millions of followers; more than TV channels and newspapers due to flip-flopped interests.
A major segment of the deterioration of Arab media lies on recipients or the audience. In other words, some media outlets which respond to audience requests and demands achieve tangible successes. Social media celebrities go by the whims of their followers to secure stardom.
In some countries, there is fear from the media, and this has created a psychological barrier that prevents journalists from dealing with vital issues. Extremist parties and other actors have also contributed to this decline in media and journalism. Lack of journalistic professionalism is a direct outcome of failure of media institutions to provide necessary training for journalists.
Over the past 25 years, the number of media channels, newspapers and websites have mushroomed. In other words, the quantity has not matched the quality due to lack of professional journalists who are well-trained to manage media institutions independently. If we look at the state of journalism now, there are more media outlets, but media independence and freedom of coverage had become less than before. Technological advances on social media have also led people to follow media that are consistent with their views.
Traditional Arab media has lost its role in the industry of opinion and has a marginal contribution to the formation of awareness of the Arab world, while social media has become more powerful and influential. Some media have moved away from traditional means and turned to social media as a better platform to address the public directly. Newspapers have become weak in many Arab countries, even those which are funded, and supported by governments, as the main issue is not related to funding but rather professionalism. Many newspapers do not have remarkable content to grab readers to purchase such newspapers due to citizens’ weak purchase power and absence of real professional journalism.
What these newspapers currently offer depends on news agencies and other sources of content. Very few still have strong journalistic topics that are presented to the reader. Unfortunately, the way such topics are covered and addressed have less freedom of expression and opinion in terms of analysis and prognosis. Since the basis in successful media work relies on science and information, absence of these two elements is one of the major loopholes of media coverage in the whole Middle East and North Africa (MENA) region.
Technological transformation in the world of media industry have raised concerns among the media industry, as this has adversely affected the media spectrum in the MENA.
Thus, we need to improve the horizons of high-level journalism and encourage new media models not only in terms of available technologies, but also in terms of innovation and creativity by hiring national press, digital media and advertising industry figures in order to restore a balance between news publishers and digital platforms that publish what they produce. This comes at a time when many changes in technology and consumer attitudes pose challenges for quality journalism in the region.
Government oversight should be effective from time to time in order for Internet news platforms to adhere to media standards and to enhance confidence in the news such platforms broadcast. The government should also consider direct support for local news sources and provide tax exemptions for media. Information authorities should provide more support to local publishers so that their coverage complements local news. Furthermore, governments concerned should set up independent institutes to provide news of public interest in the future.
Therefore, we should adhere to new standards to restore balance between publishers and online platforms. In addition, Internet platforms must exert an effort to improve their users’ access to news in a good manner.
RUINS OF BABYLON, Iraq (Reuters) – The ancient city of Babylon, first referenced in a clay tablet from the 23rd century B.C., was designated a UNESCO World Heritage Site on Friday, after a vote that followed decades of lobbying by Iraq.
The vote, at a UNESCO World Heritage Committee meeting in Azerbaijan’s capital Baku, made the ancient Mesopotamian city on the Euphrates River the sixth world heritage site within the borders of a country known as a cradle of civilization.
Iraqi President Barham Salih said the city, now an archaeological ruin, was returned to its “rightful place” in history after years of neglect by previous leaders.
Prime Minister Adel Abdul Mahdi also welcomed the news.
“Mesopotamia is truly the pillar of humanity’s memory and the cradle of civilization in recorded history,” he said.
The government said it would allocate funds to maintain and boost conservation efforts.
Babylon, about 85 kilometers (55 miles) south of Baghdad, was once the center of a sprawling empire, renowned for its towers and mudbrick temples. Its hanging gardens were one of the seven ancient wonders of the world, commissioned by King Nebuchadnezzar II.
Visitors can stroll through the remnants of the brick and clay structures which stretch across 10 square kilometers, and see the famed Lion of Babylon statue, as well as large portions of the original Ishtar Gate.
As the sun began to set on the crumbling ruins, activists and residents flocked to the replica Ishtar gate at the site’s entrance to celebrate what they called a historic moment.
“This is very important, because Babylon will now be a protected site,” said Marina al-Khafaji, a local who was hopeful the designation would boost tourism and the local economy.
It would allow for further exploration and research, said Makki Mohammad Farhoud, 53, a tour guide at the site for more than 25 years, noting that only 18% of it had been excavated.
“Babylon is the blood that runs through my veins, I love it more than I love my children,” he said.
DECADES OF NEGLECT
Excavations of what was once the largest city in the world, began in the early 19th century by European archaeologists, who removed many artifacts.
In the 1970s, under President Saddam Hussein’s restoration project, the southern palace’s walls and arches were shoddily rebuilt on top of the existing ruins, causing widespread damage.
This was exacerbated during the U.S.-led invasion of Iraq in 2003, when U.S. and Polish troops stationed nearby built their military base on top of the Babylonian ruins.
Many inscriptions written by soldiers can still be seen on the ancient bricks.
The site is in dire need of conservation, Farhoud said. Unlike three other World Heritage sites in Iraq, UNESCO did not designate Babylon as one in “in danger” after objections from the Iraqi delegation.
Iraq is replete with thousands of archaeological sites, many of which were heavily damaged or pillaged by Islamic State during its barbaric three-year-rule which ended in 2017.
The other five World Heritage Sites are the southern marshlands, Hatra, Samarra, Ashur and the citadel in Erbil, the capital of Iraq’s Kurdistan Region.
LONDON (Reuters) – A brown quartzite head of young king Tutankhamen sold at auction in London for more than 4.7 million pounds on Thursday, in the face of Egyptian demands for its return.
The more than 3,000-year-old sculpture, displayed at Christie’s London auction house, shows the boy king taking the form of the ancient Egyptian god Amen.
An unnamed buyer bought the head for 4,746,250 pounds ($5.97 million), including commission and in line with the estimated price before the sale, Christie’s said.
Outside, around 20 protesters stood silently and held placards that said “Egyptian history is not for sale”.
Egypt has long demanded the return of artefacts taken by archaeologists and imperial adventurers, including the Rosetta Stone kept in the British Museum – campaigns paralleled by Greece’s demands for the Parthenon sculptures, Nigeria’s for the Benin Bronzes and Ethiopia’s for the Magdala treasures.
“We are against our heritage and valuable items (being) sold like vegetables and fruit,” said Ibrahim Radi, a 69-year-old Egyptian graphic designer protesting outside Christie’s.
The 28.5 centimetres (11.22 inches) high piece, with damage only to the ears and nose, was sold from the private Resandro collection of Egyptian art.
Christie’s said it was acquired from Munich dealer Heinz Herzer in 1985. Before that, Austrian dealer Joseph Messina bought it in 1973-1974, and Germany’s Prinz Wilhelm Von Thurn und Taxis “reputedly” had it in his collection by the 1960s.
Hailing the piece as a “rare” and “beautiful” work, a Christie’s statement acknowledged controversy over its home.
“We recognise that historic objects can raise complex discussions about the past, yet our role today is to work to continue to provide a transparent, legitimate marketplace upholding the highest standards for the transfer of objects.”
Before the auction, Mostafa Waziri, secretary general of Egypt’s Supreme Council of Antiquities, said he was disappointed the sale was going ahead, despite requests for information and protests from government officials and Egypt’s embassy.
“I believe that it was taken out of Egypt illegally … They have not presented any documents to prove otherwise,” he told Reuters, saying that Egypt would continue to press the buyer and others for the work to be returned.
Staff at Christie’s said they had taken the necessary steps to prove its provenance and the sale was legitimate. “It’s a very well known piece … and it has never been the subject of a claim,” antiquities department head Laetitia Delaloye told Reuters.
Christie’s had been in touch with Egyptian authorities in Cairo and the London embassy, she added.
On the outskirts and southwest of Cairo lies the Giza Plateau, home to arguably the world’s greatest monuments – the three great pyramids and the Great Sphinx.
The three pyramids are The Pyramid of Khufu, also known as the Great Pyramid of Giza, The Pyramid of Khafre (Khufu’s son), and The Pyramid of Menkaure. Associated with each pyramid are pyramid complexes consisting of other smaller pyramids, temples, and mastabas. Mastabas are rectangular burial mounds that can be as high as 20 feet (6 m).
Also known as the Pyramid of Cheops, it is the oldest and largest of the three pyramids in the Giza pyramid complex. It is the only one of the original Seven Wonders of the Ancient World to survive. The Great Pyramid was the tallest man-made structure in the world for over 3,800 years until the Lincoln Cathedral in England was completed in 1,311 A.D.
Khufu was the second pharaoh of the Fourth Dynasty, and reigned during the 26th century B.C. It is believed that Khufu’s pyramid began being built around 2,580 B.C. and it took between 10 and 20 years to build, being completed around 2,560 B.C. It is built from an estimated 2.3 million blocks of stone which were transported from nearby quarries.
The largest stones used in the pyramid are granite stones found in the “King’s chamber”, and they weigh a whopping 25 to 80 tons. It is estimated that 5.5 million tons of limestone, 8,000 tons of granite that was imported from Aswan, and 500,000 tons of mortar were used in the construction of the Great Pyramid. For it to be completed in 20 years; more than 12 blocks would have had to be placed every hour, night and day.
What we see today is only the underlying structure of the pyramid. Originally, it and the other two pyramids were covered in white limestone casing stones that would have made the pyramids shine, and they would have been visible from far away. The limestone casing stones were quarried from across the Nile River, and only a few remain at the base of Khufu’s Pyramid and the top of Khafre’s Pyramid.
Of the precision used in the placement of these casing stones, famed English archaeologist Flinders Petrie (1853 – 1942) said it was “equal to opticians’ work of the present day, but on a scale of acres.”
The present height of Khufu’s pyramid is 138.8 meters (455.4 ft) high, with each base side 230.4 meters (755.9 ft) in length. The mass of the pyramid is estimated at 5.9 million tons, and it has an interior volume of around 2,500,000 cubic meters (88,000,000 cu ft).
The four sides of the base of the pyramid are identical to an error of only 58 millimeters in length. The sides of the square base are perfectly aligned to the four cardinal compass points to within four minutes of arc.
In the ancient Egyptian measuring system, the pyramid was 280 Egyptian Royal cubits high, by 440 cubits long at each of the four sides of its base. If you take the ratio of the length of the perimeter to the pyramid’s height, it is 1760/280 Egyptian Royal Cubits. This equates to 2π to an accuracy of better than 0.05 percent.
The interior of Khufu’s Pyramid contains three chambers, an unfinished chamber below the base of the pyramid, the Queen’s Chamber above it, and above that, the King’s Chamber.
The entrance to the Great Pyramid is on the north face, 17 meters (56 ft) above the ground. From it, there is a descending passageway to the subterranean chamber, but 28.2 meters (93 ft) from the entrance, a stone slab in the roof of the descending passageway concealed a square hole that leads to an ascending passageway that leads to both the Queen’s Chamber and the Grand Gallery.
The Queen’s Chamber
The Queen’s Chamber is exactly centered between the north and south faces of the pyramid. It is 5.75 meters (18.9 ft) north to south, 5.23 meters (17.2 ft) east to west, and the apex of its roof is 6.23 meters (20.4 ft) high. On both the north and south walls of the Queen’s Chamber are two shafts, one of which connects to the Grand Gallery, and the other ends upwards within the structure.
In 1993, German engineer Rudolf Gantenbrink used a crawler robot named Upuaut 2 to climb the shaft, and he found that after 65 m (213 ft), there was a limestone door with two eroded copper “handles”.
In 2002, a National Geographic Society robot drilled a hole in the door only to find another door behind that. A 2011 study revealed a small chamber between the doors with hieroglyphs writings in red paint.
The Grand Gallery
The purpose of The Grand Gallery is not known, but it continues the slope of the Ascending Passage, and is 8.6 meters (28 ft) high and 46.68 meters (153.1 ft) long. It grows progressively narrower the higher up you go, and each roof stone fits into a slot cut in the top of the gallery like the teeth of a ratchet. This means each block is supported by the wall of the Gallery, rather than resting on the block beneath it.
The floor of the Grand Gallery is comprised of a series of steps in which are 54 slots, 27 on each side. Their purpose isn’t known, but it is speculated that they held wooden beams which, in turn, held blocking stones.
The King’s Chamber
The King’s Chamber is 10.47 meters (34.4 ft) from east to west, 5.234 meters (17.17 ft) from north to south, and 5.852 meters (19 feet 2 inch) high. 0.91 m (3.0 ft) above the floor there are two narrow shafts in both the north and south walls that extend all the way out to the exterior of the pyramid.
The shafts appear to be aligned towards stars or areas of the northern and southern skies, and it is thought their purpose was to aid in the ascension of the king’s spirit to the afterlife.
The only object found in the King’s Chamber was an empty granite sarcophagus. Interestingly enough, the sarcophagus is wider than the Ascending Passage, which means that it must have been placed in the Chamber before the roof was put in place.
In 2017, a large void was found within Khufu’s Pyramid by using muons. Muons are an elementary particle similar to an electron. They are a member of the leptonfamily, and therefore are not comprised of any other particles.
Physicists with the ScanPyramids collaboration placed a muon detector in the Queen’s Chamber. Dense materials such as rock, absorb muons, while muons pass freely through the air. When more muons were received by the detector, it revealed a previously-unknown large void that is about 30 meters in length.
Computer reconstructions reveal that the void is similar in size to the Grand Gallery, and is at the same height as a number of small chambers above the King’s Chamber that relieve pressure from above. The team has also located a corridor-like structure near to the surface of the pyramid that could provide a route into the void.
Khafre’s Pyramid, also known as Chephren in Greek, is the second-tallest and second-largest of the Giza Plateau pyramids. It is the tomb of the Fourth-Dynasty pharaoh who ruled from c. 2,558 to 2,532 B.C. His pyramid complex consists of a valley temple, the Sphinx temple, a causeway that runs on an angle to avoid the Sphinx, a mortuary temple and the King’s pyramid.
The pyramid has a base length of 215.5 m (706 ft) and rises up to a height of 136.4 meters (448 ft). It is made of limestone blocks weighing more than 2 tons each. The slope of the pyramid rises at a 53° 13′ angle, which is steeper than Khufu’s Pyramid, which has an angle of 51°50’24”.
From the outside, Khafre’s pyramid appears taller than Khufu’s because it sits 10 m (33 ft) higher. Some of its casing stones were taken on Ramesses II’s orders to build a temple in Heliopolis, but some were still in place in 1646 when Oxford University professor John Greaves wrote about them.
The Khafre’s Pyramid was first explored during modern times by Giovanni Belzoniin 1818. He found the pyramid’s original entrance located on the north side of the pyramid, and upon entering, Belzoni found an open, empty sarcophagus, with its lid broken on the floor in the burial chamber.
To the east of Khafre’s Pyramid sits what remains of the mortuary temple. It is larger than previous temples, and it is the first to include all five standard elements of later mortuary temples: an entrance hall, a columned court, five niches for statues of the pharaoh, five storage chambers, and an inner sanctuary. It was built of megalithic blocks, the largest of which is 400 tons.
Menkaure’s pyramid complex consists of a valley temple, a causeway, a mortuary temple, and the king’s pyramid which is the smallest of the three pyramids. The king’s pyramid has three subsidiaries or queen’s pyramids.
Today, Menkaure’s pyramid is 61 m (204 ft) tall with a base of 108.5 m. Its angle of incline is approximately 51°20′25″ and it was constructed of limestone and granite. Menkaure’s Pyramid shows unusual damage caused at the end of the twelfth century when Saladin’s son and heir, al-Malek al-Aziz Othman ben Yusuf, attempted to demolish the pyramids, starting with Menkaure’s.
He found that it was almost as expensive to demolish the pyramids as it was to build them, and after eight months, only managed to leave a gash in the north face of Menkaure’s Pyramid.
Archaeological Discovery In Egypt To Boost Tourism
Travelwirenews reports in a major archaeological discovery, Egypt on Saturday unveiled the tomb of a Fifth Dynasty official adorned with colourful reliefs and well preserved inscriptions. The tomb, near Saqqara, a vast necropolis south of Cairo, belongs to a senior official named Khuwy who is believed to have been a nobleman during the Fifth Dynasty, which ruled over Egypt about 4300 years ago. “The L-shaped Khuwy tomb starts with a small corridor heading downwards into an antechamber and from there a larger chamber with painted reliefs depicting the tomb owner seated at an offerings table,” said Mohamed Megahed, the excavation team’s head, in an antiquities ministry statement. Flanked by dozens of ambassadors, Antiquities Minister Khaled al-Enani said the tomb was discovered last month. It is mostly made of white limestone bricks. Ornate paintings boast a special green resin throughout and oils used in the burial process, the ministry said. The tomb’s north wall indicates that its design was inspired by the architectural blueprint of the dynasty’s royal pyramids, the statement added. The excavation team has unearthed several tombs related to the Fifth Dynasty. Archaeologists recently found an inscription on a granite column dedicated to Queen Setibhor, who is believed to have been the wife of King Djedkare Isesis, the eighth and penultimate king of the dynasty. Egypt has in recent years sought to promote archaeological discoveries across the country in a bid to revive tourism that took a hit from the turmoil that followed its 2011 uprising.