 |
| Plate 1AA |
In addition, Shaw worked on expanding communications about African archaeology; in 1964, he founded the West African Archaeological Newsletter, which he edited until 1970; from 1971-1975, he edited the West African Journal of Archaeology.
Shaw was encouraged by Louis Leakey to go to the Gold Coast (later Ghana) to work in archaeology. He arrived on 15 September 1937 and started as a tutor with the Cambridge Education Committee. He was appointed Curator of the Anthropology Museum at Achimota College, holding that post until 1945. During this time he conducted the first archaeological excavations in Ghana at Dawu near Accra. He served at the Cambridge Institute of Education from 1951–1964.
During the 1950s, Shaw helped found and organize the collections of the Ghana National Museum and established the archaeology department at the University of Ghana. These were part of the national institutions being developed as Ghana moved toward revived independence. They supported the study and preservation of the nation's rich heritage within its borders.
 |
| Plate 1BB |
In 1959, Shaw was invited by the antiquities department of Nigeria to perform an excavation at Igbo-Ukwu, where numerous ancient bronzes had been found by a villager.
Shaw's excavation revealed bronze pieces that were evidence of a sophisticated Igbo civilization from the ninth century.
They marked the most developed metalworking culture of the time. The Igbo were working at this site centuries before the development of other bronze-working sites in what is now Nigeria.
Shaw returned to the town in 1964 and conducted two more excavations. These revealed extensive bronzes, as well as thousands of trade beads, evidence of a commercial network extending to Egypt. He also found evidence of ritual practices related to burials and sacred sites.
Plate 1aa (above - Igbo Ukwu): Various pictographs of Sumer can be seen on this bronze stand: a hand curving to the right of the observer is the letter A. The ‘hand’ is the syllabic sound KAD: meaning A-KAD! The forehead double concentric circle is the emblem of Sargon the Great, cf. plate 1bb, (directly above) Pre-Cuneiform Sumerian letters: concentric circle (Sharu) plus Man (Gin) = Sharru-Gin anglicized as 'Sargon'.
 |
| Plate 1CC |
Plate 1cc (left): Igbo Ukwu – two copper rings joined into a Vesica Pisces. No one could explain this symbol until now.
The Sumerian symbol in plate 1dd (below), middle, shows it to be the pictograph for the word NER (part of the name of Sumerian king NARMER (who annexed Egypt in 3,100 BC and was known there as MENES). Menes later conquered his home state Magan which the Sumerian inscriptions on NOK artifacts reveal to be Nigeria (as illustrated in plate 11a).
MENES, as Waddell reveals, was the rebel Crown Prince of Sargon the Great, who in opposition to his father moved to Egypt, established himself as King and returned to overrun his father’s kingdom, thus creating Upper and Lower Egypt. Menes’ title AKA is the Igbo mystical word MGBA AKA (circle with a dot in the centre – the Mother-Goddess enveloping the Son/Egyptian NUN enveloping the SUN-God). It is Sargon’s concentric circle!
 |
| Plate 1DD |
That the first dynasty of Pharaohs of Egypt was from Nigerian royal families, is evident from the fact that quite a number of them bore Nigerian tribal royal titles.
L.A.Waddell who translated early Sumerian/Egyptian and Indian inscriptions of Sumerian king lists insists that Sumerian king lists dovetails into Egyptian and Indian King-lists and that the first dynasty of Egyptian Pharaohs from the lineage of the Nubian (Black African), Menes (3100 BC), all used Sumerian titles. It is easily recognizable that the titles in question are titles of existing Nigerian royal houses!!
The titles showed that many of the first Pharaohs came from the royal houses of Eri, Attah Gani/Gana and Dunu Oka, from the Kwa and Fulani tribes. Sumerian kings, as well as Egyptian Pharaohs, generally bore titles like Eri, Qa/Kwa, Attah, Dunu, Duru, Gani, Gana, Uru, Urashi, Asa, Aka, Aha, Kwush (Akwu Nshi)! Egyptologists are silent about this, but Waddell insists that these kings mostly used titles rather than personal names and that the titles can be read in the memorial seals left behind by these Pharaohs.
 |
| Plate 1EE |
Menes was called Aha or Aka, a title which in Igbo tradition implies that he was a dwarf (Aka Ushi) and a goddess worshiper (for it is the Igbo astronomical symbol of the dot enclosed in the circle).
The 2nd king after Menes used the title Attah. The 3rd Pharaoh of the Menes dynasty used the title Gani Eri; the 4th used the title - Bag Eri, and the 5th used the title Dan in Egyptian seals, translated as Dun Du in Indian king lists of the same kings from a common heritage of humanity.
Dun Du can be said to be an abbreviation of Dunu Idu. Gani Eri was called Shar Eri, meaning King Eri. This title was first borne by the father of Menes, whom Waddell identifies as Sargon the Great (Shar Gani) the first king of Akkad in Sumer.
Plates 1ee (right): Igbo conical hat Okpu-agu worn by local chiefs, initiates, and king-companions in the Eri cultural dressing (Eri is reputed as the Deluge survivor immigrant/Igbo version of Noah, who brought culture).
Plate 1ff (below): The design of the Igbo Eri hat is featured as the Sumerian pictograph for the word ERI! Next to it is the Sumerian letter BU, which stands for the “Serpent Land” where Akkad is located. BU is obviously the Sumerian spelling (or Waddell’s faulty transcription) for the word EBO (also spelt IGBO).
In addition, according to the Yoruba and Igbo, parallel traditional myths, Nri in Igbo, Orunmila in Yoruba, Thoth in Egypt and Hermes in Greece, left with them divination systems, in order for them to be able to communicate with the gods in the spiritual realm.
 |
| Plate 1FF |
The foundation of analysis in Ifá is a systematized graphic translation of the results of the random presentation of the divination objects, among which the chain (o`pe`le`) and palm nuts (ikin) are the most prestigious.
To divine with nuts, the priest holds sixteen ritually sanctified palm nuts in his or her palms, shakes them well, and takes out a bunch with the right hand. If two nuts remain in the left palm, the diviner makes one short vertical fingertip imprint on the fine sand spread out on the divination tray. If one nut remains, two imprints are made.
 |
| Illustration of Ifa Divination Binary Codes and Clifford Algebra |
If more than two or none remain, no sign is imprinted. When a chain of eight, hollowed, half-divination nutshells, attached four each to two sides of a string is the preferred instrument, the divination process is a little different. The diviner holds up the string and then drops it on the small divination space in front of him or her. The presentation of each throw is transcribed on the tray.
A nut that falls with its “concave inner surface upward” indicates two imprints; one that falls with the convex side up indicates one imprint. Producing readable inscriptions is obviously faster with the chain method. In either method the priest reads the imprints, top-down, right side first, to identify which of the sixteen basic units of Ifá graphemes (odù ifá) is presented.
 |
| The Head at the top of Ifa Divination Tray depicts Orunmila's (Nri/Thoth/Hermes) Head. |
Identifying the units clues the diviner as to which stories to tell to illustrate the problems revealed by the divination God and to decipher what ritual sacrifices or behavioural changes to prescribe.
The casting, imprinting, and narrating process typically starts after the client has whispered his or her purpose into some tokens, which could be money, mixed up with the divination objects. The sign revealed and the illustrative stories told must bear some allegorical semblance to the problems the client wants to solve.
Virtually all Ifá scholars agree on the names, visible appearance, and order of the characters that make up the basic notation system (the graphemes): Ogbè is in the first position, Òye`kú in the second, and Òfún in the sixteenth. In practical counselling, the basic units must double to produce a diagnosis and/or prognosis.
A pattern that signals Ò?ye?`kú on the right and Ogbè on the left is named Òye`kúlógbè—it is Ogbèye`kú if the other way round—and one that shows Òfún on both sides is Òfún Méjì (Doubled Òfún). The inscriptions issue from a grid that is systematically structured so that naming errors can be fixed with little effort.
The foundational role of the inscription system in Ifá divination distinguishes it as a “literate” learned means of inquiry—Ifá is commonly called aláko`wé, the scribe or literate one— and not a seance or other kind of intuitive, magical, or “gifted” fortune-telling.
The practitioners’ lengthy and rigorous training further enhances Ifá’s image of honest dedication and discipline.
References to the profession in everyday speech extol honesty and straightforwardness. The saying “a kìí sawo ká puro?´” (“the person sworn to the divination profession cannot and should not tell lies”) attests axiomatically to the diviner’s truthfulness.
Plate 1gg, hh, ii: Two symbols of two Sumer’s cities – plate 1gg, (right) The Grail Cup called UDU or DU in Sumerian. Plate 1hh(below: The actual Sumerian Grail Cup excavated in Igbo!
In Igbo Eri tradition, an earthenware pot/cup called UDU/UDUDU is the emblem of the spiritual authority of the king and must be possessed by every reigning Eri/Nri king. Thus Sargon/Nimrud was an Eze Eri/ Eze Nri! Nimrud was also called Bakkus – ‘god of Wine’.
Perhaps this was the Grail Cup he drank from before his death and canonization! Plate 1ii (beneath): These decorated canine teeth recovered from Igbo Ukwu, can be seen to be a physical representation of the lower Sumerian pictograph in plate 1gg.
It is the Sumerian emblem and pictograph for the sound and the city of URUK (a city ruled by Gilgamesh, but founded by Nimrud), as well as of Uruk’s mother state, UR (as recorded by Waddell). Sargon is noted in history as having conquered.
Though the account of Noah in the Hebrew Bible has long been the most studied flood story by scholars, in the 19th century Assyriologist George Smith translated the first Babylonian account of a great flood.
Further discoveries produced several versions of the Mesopotamian flood myth, with the account closest to that in Genesis found in a 700 BC Babylonian copy of the Epic of Gilgamesh.
The known versions of the Mesopotamian flood myths have as their protagonists Atrahasis (in the 18th century BC Atrahasis Epic), Ziusudra (in the 17th century BC Sumerian Flood Story), and Utnapishtim (in the 7th century BC Epic of Gilgamesh).
The Sumerian King List relies on the flood motif to divide its history into preflood (antediluvian) and postflood periods. The pre-flood kings had enormous lifespans, whereas post-flood lifespans were much reduced.
The Sumerian flood myth found in the Deluge tablet was the epic of Ziusudra, who heard the gods' plan to destroy humanity, in response to which he constructed a vessel that delivered him from great waters. In the more detailed Mesopotamian accounts of the flood, the Gilgamesh flood myth and the epic of Atrahasis, the highest god Enlil decides to destroy the world with a flood because humans have become too noisy.
The god Ea, who created humans out of clay and divine blood, secretly warns the hero Utnapishtim of the impending flood and gives him detailed instructions for building a boat so that life may survive.
George Smith, who discovered and translated the Epic of Gilgamesh:
In the c. 6th century BC Book of Genesis, the god Yahweh, who created man out of clay, decides to flood the earth because of the sinful state of mankind.
It is also Yahweh who then gives the protagonist Noah instructions to build an ark in order to preserve human and animal life. When the ark is completed, Noah, his family, and representatives of all the animals of the earth are called upon to enter the ark. When the destructive flood begins, all life outside of the ark perishes.
After the waters recede, all those aboard the ark disembark and have Yahweh's promise that he will never judge the earth with a flood again. He causes a rainbow to form as a sign of this promise. In Hindu mythology, texts such as the Satapatha Brahmana (dated to around the 6th century BC) and the Puranas contain the story of a great flood, "Pralaya", wherein the Matsya Avatar of the Vishnu warns the first man, Manu, of the impending flood, and also advises him to build a giant boat.
In Plato's Timaeus, written c. 360 BC, Timaeus describes a flood myth similar to the earlier versions. In it, the Bronze race of humans angers the high god Zeus with their constant warring. Zeus decides to punish humanity with a flood.
The Titan Prometheus, who had created humans from clay, tells the secret plan to Deucalion, advising him to build an ark in order to be saved.
After nine nights and days, the water starts receding and the ark lands on a mountain.
However, the only continent on the planet that has two Mega-Lakes, Chad and Congo is located in Africa.
Therefore, the probability of the flood stories originating from Africa is 90% more credible than others. In addition, without even taking into account all artefacts and other evidence presented to support this assertion, the two mega-lakes, and their proximity to the Ethiopian Sea (Atlantic) makes Africa very susceptible to catastrophic flooding or floodings. This makes the claims of the Bible flood story's Uniqueness, bordering on balderdash and piffle.
Plate 1jj (above): The highly dilapidated scull of the monarch buried in the city under the present town of Igbo Ukwu, probably still partially preserved because of the huge copper presence in the tomb. Plate 1kk (below): one half of the Copper Crown worn by the monarch into the grave. It bears Sargon’s emblem of the quadrangle.
However, the double horns on it spell MEN/MAN, as in plate 1gg above. The quadrangles spell SHAR. Together they spell MEN SHAR (according to Waddell).
Sumerian can be read from right to left and vice versa. SHAR MEN Means EMPEROR MENES! (Egyptian records claim that Menes died in an expedition to Upper Egypt.) Plate 1ll (below): Igbo Ukwu Sun seal worn by a monarch.
Pharaoh Dan/ Du Dunu was said to have called his grandfather, Gani Eri/King Eri, by the title “Shukunni, the Great Ukush, the Gut/God”. This obviously translates into Igbo as, “Chukwuani/Chukwuini/Chukwunna – God of the Earth/God in the Tomb/God the Father, Great Aka Ushi”! Aka Ushi implies this Immortal God is dwelling in the circular Womb of the Mother.
It is also a collective term for all Ape-men. Aka Ushi is nurtured in the pyramidal womb of the Earth Goddess, which the Igbo call Akwu, ‘Nest’ (Egyptian Akh/Akhet is a term for the pyramid) - the Igbo concept of the Earth-Mother as the Womb that incubates the embryo and harbours the dead. Ancient Igbos were buried in huge step pyramids the size of single-storied buildings.
The Nsude pyramids (plates 5aa, bb) are added evidence that Igbo land is the land of Egyptian mythology, the origin of its culture and civilization and the home of its gods.
Osiris wears traditional Igbo double plumes with his Igbo conical hat and carries the Igbo flail (fly whisk) and metal staff – all part and parcel of the traditional Igbo regalia of kings and Nze na ozo initiates.
Plate 1mm (below): Igbo Ukwu rider on a saddled horse. The horse-rider wears the Igbo/Sumerian Eri conical hat.
The saddled horse was a Sumerian invention and gift to the world. The horse’s eye is the concentric circle symbol of Sargon. The Palm frond symbol on the rider’s face and horse’s body is the Sumerian symbol of their goddess or writing, Nisaba who, as Sumer’s texts claim, tutored the inhabitants of Akkad.
The Palm Tree is the Sumerian Tree of Life (Axis Mundi). The rider holds a traditional Igbo drinking horn. Nimrud was the Wine-god Bakkus and was characteristically called ‘Lord of the Tree of Life’. This then was an emblem of Nimrud! Plate 1nn (beneath): Fish is a Sumerian pictograph for KHA.
Ape-man is the Igbo forest god AD/ADU – Sumerian Adites/Hindu Adythas! Both form the generic word KHA-D or KHA-ADU – the generic origin of the Sumerian words AKKAD and AKKADIAN.
Plate 1o (further beneath): The breastplate was worn by the monarch to the grave with some of his many beads. Hindu kings dressed this way in the national epics.
Armed with these findings, the Catherine Acholonu Research Center, Abuja, Nigeria, hereby call on the British Museum authorities to release for autopsy and proper dating, the remains of the monarch whose partially decayed bones were excavated in Igbo Ukwu in 1950 by Thurstan Shaw.
The monarch’s bones were partially preserved through contact with rows of copper wires adorning his arms and legs. He wore a copper crown engraved with the official emblem of Sargon the Great, a forehead Sun-disc, a breastplate of copper and regalia strung with one hundred and eleven thousand coloured carnelian beads! Other emblems of Sargon the Great and his royal line taken from Igbo Ukwu were: a Roped Bronze Vase.
The roped design consists of quadrangles – the official emblem of Sargon the Great; an altar stands with the image of a man and a woman standing back to back.
The man bears two other Sargon emblems on his forehead and on his belly button, one of which is a double concentric circle. The cache of goods excavated in Igbo Ukwu would fill two museums.
A few of the artifacts are located in Nigerian museums, but the bulk of them are hidden away in the British Museum and Nigerians are not allowed to access them.
The civilization in question, like all other Sumerian civilizations in Nigeria, is outside the living memory of the natives of Igbo land and only exists in long-forgotten folklore.
The excavated city of Akkad was found four to five meters deep beneath the foundations of buildings of the present town of Igbo Ukwu. Natives still dig up grooved pottery and bronze wares while digging cisterns in every part of the town, as well as in the neighbouring town of Oraeri up to this very day.
This indicates a thriving civilization in its time. The Igbo Ukwu bronze casting method differs from other Nigerian Bronzes in the use of Tin, a technique employed by the Sumerian Chaldeans; and in the use of the lost wax method.
Igbo Ukwu bronze is also in a class of its own in the delicacy and exquisitely ornate nature of its designs. We have identified the locations of other lost cities of Pre-Historic and Pre-Deluge Sumer in various parts of Nigeria, as well as various landmarks that feature in Sumerian literature and mythology.
Sumerians sought to duplicate landmarks from their original homeland in their new places of abode. Accordingly, the Niger-Benue confluence rivers of their Olden Texts gave way to the Tigris and Euphrates confluence rivers in their new cities in Babylon and Mesopotamia.
We Invite the International Media
These discoveries call for the redefinition of the parameters of Knowledge, a remapping of the course of human civilization and, I daresay, a re-writing of our history books.
Accordingly, the Researchers of the Catherine Acholonu Research Center are inviting the international media to a series of world Press Conferences in Abuja, New York, London, Dubai, New Delhi and Beijing to enable us to demonstrate our findings to the world. Dates will be communicated in due course.
End of part 10 of 10. The next blog 24/03/19. The Curriculum of the Egyptian Mystery System, including, The Education of the Egyptian Priests According to Their Orders. incorporating Odus, Horoscopus, Hierogrammat, The Stolistes, Prophetes, and Pastophori.
Virtually all Ifá scholars agree on the names, visible appearance, and order of the characters that make up the basic notation system (the graphemes): Ogbè is in the first position, Òye`kú in the second, and Òfún in the sixteenth. In practical counselling, the basic units must double to produce a diagnosis and/or prognosis.
A pattern that signals Ò?ye?`kú on the right and Ogbè on the left is named Òye`kúlógbè—it is Ogbèye`kú if the other way round—and one that shows Òfún on both sides is Òfún Méjì (Doubled Òfún). The inscriptions issue from a grid that is systematically structured so that naming errors can be fixed with little effort.
The foundational role of the inscription system in Ifá divination distinguishes it as a “literate” learned means of inquiry—Ifá is commonly called aláko`wé, the scribe or literate one— and not a seance or other kind of intuitive, magical, or “gifted” fortune-telling.
 |
| Plate 1GG |
The practitioners’ lengthy and rigorous training further enhances Ifá’s image of honest dedication and discipline.
References to the profession in everyday speech extol honesty and straightforwardness. The saying “a kìí sawo ká puro?´” (“the person sworn to the divination profession cannot and should not tell lies”) attests axiomatically to the diviner’s truthfulness.
Plate 1gg, hh, ii: Two symbols of two Sumer’s cities – plate 1gg, (right) The Grail Cup called UDU or DU in Sumerian. Plate 1hh(below: The actual Sumerian Grail Cup excavated in Igbo!
In Igbo Eri tradition, an earthenware pot/cup called UDU/UDUDU is the emblem of the spiritual authority of the king and must be possessed by every reigning Eri/Nri king. Thus Sargon/Nimrud was an Eze Eri/ Eze Nri! Nimrud was also called Bakkus – ‘god of Wine’.
Perhaps this was the Grail Cup he drank from before his death and canonization! Plate 1ii (beneath): These decorated canine teeth recovered from Igbo Ukwu, can be seen to be a physical representation of the lower Sumerian pictograph in plate 1gg.
It is the Sumerian emblem and pictograph for the sound and the city of URUK (a city ruled by Gilgamesh, but founded by Nimrud), as well as of Uruk’s mother state, UR (as recorded by Waddell). Sargon is noted in history as having conquered.
 |
| Plate 1HH |
Though the account of Noah in the Hebrew Bible has long been the most studied flood story by scholars, in the 19th century Assyriologist George Smith translated the first Babylonian account of a great flood.
Further discoveries produced several versions of the Mesopotamian flood myth, with the account closest to that in Genesis found in a 700 BC Babylonian copy of the Epic of Gilgamesh.
The known versions of the Mesopotamian flood myths have as their protagonists Atrahasis (in the 18th century BC Atrahasis Epic), Ziusudra (in the 17th century BC Sumerian Flood Story), and Utnapishtim (in the 7th century BC Epic of Gilgamesh).
The Sumerian King List relies on the flood motif to divide its history into preflood (antediluvian) and postflood periods. The pre-flood kings had enormous lifespans, whereas post-flood lifespans were much reduced.
The Sumerian flood myth found in the Deluge tablet was the epic of Ziusudra, who heard the gods' plan to destroy humanity, in response to which he constructed a vessel that delivered him from great waters. In the more detailed Mesopotamian accounts of the flood, the Gilgamesh flood myth and the epic of Atrahasis, the highest god Enlil decides to destroy the world with a flood because humans have become too noisy.
 |
| Plate 1II |
The god Ea, who created humans out of clay and divine blood, secretly warns the hero Utnapishtim of the impending flood and gives him detailed instructions for building a boat so that life may survive.
George Smith, who discovered and translated the Epic of Gilgamesh:
In the c. 6th century BC Book of Genesis, the god Yahweh, who created man out of clay, decides to flood the earth because of the sinful state of mankind.
It is also Yahweh who then gives the protagonist Noah instructions to build an ark in order to preserve human and animal life. When the ark is completed, Noah, his family, and representatives of all the animals of the earth are called upon to enter the ark. When the destructive flood begins, all life outside of the ark perishes.
After the waters recede, all those aboard the ark disembark and have Yahweh's promise that he will never judge the earth with a flood again. He causes a rainbow to form as a sign of this promise. In Hindu mythology, texts such as the Satapatha Brahmana (dated to around the 6th century BC) and the Puranas contain the story of a great flood, "Pralaya", wherein the Matsya Avatar of the Vishnu warns the first man, Manu, of the impending flood, and also advises him to build a giant boat.
In Plato's Timaeus, written c. 360 BC, Timaeus describes a flood myth similar to the earlier versions. In it, the Bronze race of humans angers the high god Zeus with their constant warring. Zeus decides to punish humanity with a flood.
 |
| Plate 1JJ |
The Titan Prometheus, who had created humans from clay, tells the secret plan to Deucalion, advising him to build an ark in order to be saved.
After nine nights and days, the water starts receding and the ark lands on a mountain.
However, the only continent on the planet that has two Mega-Lakes, Chad and Congo is located in Africa.
Therefore, the probability of the flood stories originating from Africa is 90% more credible than others. In addition, without even taking into account all artefacts and other evidence presented to support this assertion, the two mega-lakes, and their proximity to the Ethiopian Sea (Atlantic) makes Africa very susceptible to catastrophic flooding or floodings. This makes the claims of the Bible flood story's Uniqueness, bordering on balderdash and piffle.
Plate 1jj (above): The highly dilapidated scull of the monarch buried in the city under the present town of Igbo Ukwu, probably still partially preserved because of the huge copper presence in the tomb. Plate 1kk (below): one half of the Copper Crown worn by the monarch into the grave. It bears Sargon’s emblem of the quadrangle.
 |
| Plate 1KK |
However, the double horns on it spell MEN/MAN, as in plate 1gg above. The quadrangles spell SHAR. Together they spell MEN SHAR (according to Waddell).
Sumerian can be read from right to left and vice versa. SHAR MEN Means EMPEROR MENES! (Egyptian records claim that Menes died in an expedition to Upper Egypt.) Plate 1ll (below): Igbo Ukwu Sun seal worn by a monarch.
Pharaoh Dan/ Du Dunu was said to have called his grandfather, Gani Eri/King Eri, by the title “Shukunni, the Great Ukush, the Gut/God”. This obviously translates into Igbo as, “Chukwuani/Chukwuini/Chukwunna – God of the Earth/God in the Tomb/God the Father, Great Aka Ushi”! Aka Ushi implies this Immortal God is dwelling in the circular Womb of the Mother.
It is also a collective term for all Ape-men. Aka Ushi is nurtured in the pyramidal womb of the Earth Goddess, which the Igbo call Akwu, ‘Nest’ (Egyptian Akh/Akhet is a term for the pyramid) - the Igbo concept of the Earth-Mother as the Womb that incubates the embryo and harbours the dead. Ancient Igbos were buried in huge step pyramids the size of single-storied buildings.
 |
| Plate 1LL |
Osiris wears traditional Igbo double plumes with his Igbo conical hat and carries the Igbo flail (fly whisk) and metal staff – all part and parcel of the traditional Igbo regalia of kings and Nze na ozo initiates.
Plate 1mm (below): Igbo Ukwu rider on a saddled horse. The horse-rider wears the Igbo/Sumerian Eri conical hat.
The saddled horse was a Sumerian invention and gift to the world. The horse’s eye is the concentric circle symbol of Sargon. The Palm frond symbol on the rider’s face and horse’s body is the Sumerian symbol of their goddess or writing, Nisaba who, as Sumer’s texts claim, tutored the inhabitants of Akkad.
The Palm Tree is the Sumerian Tree of Life (Axis Mundi). The rider holds a traditional Igbo drinking horn. Nimrud was the Wine-god Bakkus and was characteristically called ‘Lord of the Tree of Life’. This then was an emblem of Nimrud! Plate 1nn (beneath): Fish is a Sumerian pictograph for KHA.
 |
| Plate 1MM |
Ape-man is the Igbo forest god AD/ADU – Sumerian Adites/Hindu Adythas! Both form the generic word KHA-D or KHA-ADU – the generic origin of the Sumerian words AKKAD and AKKADIAN.
Plate 1o (further beneath): The breastplate was worn by the monarch to the grave with some of his many beads. Hindu kings dressed this way in the national epics.
Armed with these findings, the Catherine Acholonu Research Center, Abuja, Nigeria, hereby call on the British Museum authorities to release for autopsy and proper dating, the remains of the monarch whose partially decayed bones were excavated in Igbo Ukwu in 1950 by Thurstan Shaw.
The monarch’s bones were partially preserved through contact with rows of copper wires adorning his arms and legs. He wore a copper crown engraved with the official emblem of Sargon the Great, a forehead Sun-disc, a breastplate of copper and regalia strung with one hundred and eleven thousand coloured carnelian beads! Other emblems of Sargon the Great and his royal line taken from Igbo Ukwu were: a Roped Bronze Vase.
The roped design consists of quadrangles – the official emblem of Sargon the Great; an altar stands with the image of a man and a woman standing back to back.
 |
| Plate 1NN |
The man bears two other Sargon emblems on his forehead and on his belly button, one of which is a double concentric circle. The cache of goods excavated in Igbo Ukwu would fill two museums.
A few of the artifacts are located in Nigerian museums, but the bulk of them are hidden away in the British Museum and Nigerians are not allowed to access them.
The civilization in question, like all other Sumerian civilizations in Nigeria, is outside the living memory of the natives of Igbo land and only exists in long-forgotten folklore.
The excavated city of Akkad was found four to five meters deep beneath the foundations of buildings of the present town of Igbo Ukwu. Natives still dig up grooved pottery and bronze wares while digging cisterns in every part of the town, as well as in the neighbouring town of Oraeri up to this very day.
This indicates a thriving civilization in its time. The Igbo Ukwu bronze casting method differs from other Nigerian Bronzes in the use of Tin, a technique employed by the Sumerian Chaldeans; and in the use of the lost wax method.
Igbo Ukwu bronze is also in a class of its own in the delicacy and exquisitely ornate nature of its designs. We have identified the locations of other lost cities of Pre-Historic and Pre-Deluge Sumer in various parts of Nigeria, as well as various landmarks that feature in Sumerian literature and mythology.
 |
| Plate 1OO |
Sumerians sought to duplicate landmarks from their original homeland in their new places of abode. Accordingly, the Niger-Benue confluence rivers of their Olden Texts gave way to the Tigris and Euphrates confluence rivers in their new cities in Babylon and Mesopotamia.
We Invite the International Media
These discoveries call for the redefinition of the parameters of Knowledge, a remapping of the course of human civilization and, I daresay, a re-writing of our history books.
Accordingly, the Researchers of the Catherine Acholonu Research Center are inviting the international media to a series of world Press Conferences in Abuja, New York, London, Dubai, New Delhi and Beijing to enable us to demonstrate our findings to the world. Dates will be communicated in due course.
End of part 10 of 10. The next blog 24/03/19. The Curriculum of the Egyptian Mystery System, including, The Education of the Egyptian Priests According to Their Orders. incorporating Odus, Horoscopus, Hierogrammat, The Stolistes, Prophetes, and Pastophori.
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