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BARABAR, THE ARCHAEOLOGICAL SITE OF THE FUTURE - Documentary, History, Civilizations — Transcript

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0:35I have never seen anything the like I
0:38have never heard of anything the like I
0:42think these caves are unique and simply
0:47exceptional a cathedral and these caves
0:49it's not the same thing it's less
0:51complicated to build a cathedral than
0:53this it's made of granite one of the
0:56hardest materials around for me it's not
0:59about great Precision it's about extreme
1:02Precision you can rebuild a cathedral
1:05with 300 well motivated stone masons but
1:08barbar is currently on the verge of
1:12impossibility welcome to the heart of
1:14ancient India in a forgotten chapter of
1:16its past that could very well change
1:18history
1:20[Music]
1:42[Music]
1:58oh oh
2:05[Music]
2:10[Music]
2:29[Music]
2:30of all the countries we've had the
2:31chance to explore India is probably the
2:34one that has impressed us the
2:40most from its Street children to the
2:42incessant honking of horns on its
2:44overcrowded roads India is an
2:46unclassifiable land and to visit it is a
2:49unique
2:50experience with over 1 B300 million
2:53inhabitants is one of the most densely
2:55populated places on Earth a world leader
2:58in technology a bridge between between
3:00ancient times and the present between
3:02science and spirituality India has a
3:04rich written history in the Vaders held
3:07at the heart of the Hindu tradition
3:09which constitute both a literary and
3:11spiritual Treasure Trove these ancient
3:13writings written in Sanskrit India's
3:15oldest and most sacred language are
3:17composed of rituals hymns prayers and
3:20philosophical insights that have greatly
3:22influenced Indian culture the most
3:24famous are probably the Bhagavad Gita
3:27and mahabarata in which some believe
3:29they portray a fantastic and highly
3:31technological ancient India but these
3:33stories like all the founding Tales of
3:35our ancient civilizations are considered
3:37just mythological and simply a
3:39reflection of the imagination of the
3:40ancient authors how could it possibly be
3:43otherwise Advanced Science and
3:45Technology existing in the distant past
3:47are according to our historical
3:49narrative
3:51impossible before our current historical
3:53record we were just prehistoric humans
3:56simple primitive as we would have been
3:58for almost 220 ,000 years existing only
4:01by hunting and
4:05Gathering looking back at our history we
4:07have the sense of linear progress
4:09starting with the wheel just a few
4:11thousand years ago and ending with
4:13[Music]
4:15smartphones the first and only human
4:18Industrial Revolution took place in
4:19Europe just under two centuries ago
4:22otherwise we would obviously have found
4:24traces of previous Industries and
4:26ancient India like all other
4:27civilizations have left nothing of the
4:29kind or so we believe according to our
4:33history the barabar and nagini Chambers
4:35are simple shelters offered 2,300 Years
4:38Ago by two kings to a group of Beggars
4:41protection from the rain during the
4:42monsoon season meaning the case is
4:44essentially
4:45closed unlike other archaeological sites
4:48in the region they are neither grandiose
4:50nor richly decorated which is perhaps
4:52why they are unknown even to the
4:55[Music]
4:58Indians but that's just the tip of the
5:00iceberg because when they're
5:02investigated in depth they turn out to
5:04be so exceptional that they could be
5:06evidence of a very different
5:07technological
5:10past because we have no archives
5:12concerning the design manufacture or
5:14function of these
5:15Chambers until proven otherwise such
5:18Feats have never been reproduced in
5:20India or anywhere else in the world you
5:23can't just jump into a project like that
5:25out of the blue and say hey let's make a
5:26cave it's not possible it's not their
5:28first attempt because the oldest
5:30inscriptions speak of donations not
5:35[Music]
5:38manufacturing because they have been
5:40crafted with Precision on par with the
5:42modern industrial world it's
5:43astonishingly
5:45precise measuring in millimeter is
5:48normally only used for precisely
5:49engineering structures it's hard to
5:52imagine such volumes but yes it's Ultra
5:54precise because the true complexity of
5:56their shapes can only be revealed with
5:583D scans
6:00yes we don't follow a perfect shape but
6:02we do follow a distribution of perfect
6:04symmetrical volumes whether we're on the
6:07right left top or bottom because they
6:09involve mathematical knowledge far
6:11beyond that which is currently
6:12attributed to ancient India you have to
6:15master the number Pi with many many
6:18decimals and because they interact with
6:21sound frequencies like no other place in
6:23the world and this is perhaps the real
6:25key to their mystery
6:36[Music]
6:39we visited them for the first time in
6:41January
6:42[Music]
6:462017 listed as a UNESCO world heritage
6:49site the chambers are spread across the
6:51archaeological sites of barabar and
6:53nagaj Juni some 40 kilomet from bodgaya
6:55a city famous in Buddhism as the place
6:58where Buddha is said to have experienced
7:00his
7:03[Music]
7:20Enlightenment after about an hour and a
7:22half drive we reach the barbar site via
7:25a long staircase that leads us to what
7:27geologists call a whale's back
7:30a huge Granite core some 100 m
7:34long inside three chambers have been
7:37carved out for the sake of convenience
7:39we've kept the chamber names used in our
7:41previous film but they're probably not
7:46original the first when arriving on site
7:49is Karan Chopper the entrance is a
7:52trapezio or passage wider at the bottom
7:54than at the top which penetrates
7:56directly into the Bedrock engraved
7:58inscriptions can be SE seen in this
7:59passageway which opens onto a
8:01rectangular chamber at its base with
8:03very slightly sloping walls along the
8:06width a bench has been cut into the
8:09[Music]
8:12Rock despite a few imperfections it is
8:14so polish that it looks almost metallic
8:17to the
8:20camera the vaulted ceiling appears
8:22cylindrical
8:23[Music]
8:33let's move on to the other side of this
8:35whale's
8:38[Music]
8:40back this is the entrance to the sudar
8:43chamber which differs from the previous
8:45one in that it first has a recess which
8:48Stone Cutters call a first bear into
8:50which the passage is
8:53cut also engraved with inscriptions it
8:56leads to a rectangular chamber with a
8:57cylindrical Ved ceiling and smooth shiny
9:00walls also slightly inclined in this
9:03wall is a niche unfinished and not of
9:05the
9:08[Music]
9:09period the wall facing it has a curved
9:12shape and is topped by a portion of the
9:13Dome that makes it look like a
9:19mushroom in the center of this wall a
9:21passageway leads to a dome with a half
9:23spherical ceiling
9:28[Music]
9:37some 30 m from sudama still carved from
9:40the same whales back is the lus rishy
9:43[Music]
9:45chamber it's the only one with a porch
9:48beautifully decorated and very circular
9:51often the first photo you see when
9:52searching the
9:55site unlike the previous two the
9:58entrance frame is curved it is followed
10:01by a trapezio or passageway which has no
10:05inscriptions this unfinished chamber
10:07seems to be a copy of sudama unless it's
10:09a failed
10:11attempt three of the walls appear almost
10:14finished while the rest of the chamber
10:16is still in the
10:18[Music]
10:20rough the passageway to the Dome is
10:22almost complete but the Dome is a long
10:24way
10:25off everywhere there are random pick
10:28traces a tool used used to rough out the
10:30shape by removing large portions of
10:33[Music]
10:39material from this whale back a path
10:41leads to Viva opri the last isolated
10:44chamber which is also
10:46[Music]
10:50unfinished it differs completely from
10:53the others in its entrance it's a sort
10:55of vable almost finished because the
10:57walls are polished but not the floor
11:00an inscription is engraved on the right
11:02hand
11:05wall a trapezio or passage leads to a
11:08chamber not far enough Advanced to guess
11:10the final shape probably
11:21[Music]
11:25circular 1.6 kilm away as the crow flies
11:29from the barabar site is the nagaj Juni
11:32site a natural pile of hundreds of rocks
11:34formed over millions of years known as a
11:37gramatic
11:40Chaos on this side at the end of the
11:43Steep staircase the gopa chamber has
11:45been carved out of solid
11:48[Music]
11:52rock an unframed trapezoidal passage
11:56resembling that of Kuran Chopper leads
11:58to a large oval-shaped
12:00[Music]
12:02chamber its sloping walls are once again
12:05smooth as Glass and its voltage ceiling
12:08harmonious a long Fisher runs through
12:11the entire
12:12[Music]
12:21[Music]
12:26length on the other side of this
12:28gramatic chaos at the end of a long path
12:30we reach the vaka
12:33chamber it has a similar entrance to
12:36that of sudama consisting of a
12:37rectangular frame followed by a trapezi
12:40odal passageway in which inscriptions
12:42are engraved on both
12:43sides facing south it's the brightest of
12:46all its equally sloping walls are topped
12:49by a cylindrical Ved ceiling
13:00[Music]
13:07in the Rock next to it the vatica
13:09entrance passage lies a little hemed
13:13in with its trapezio cross-section
13:16similar to those of Karan chopa and gopa
13:19it leads to an entirely curved Hall
13:21harmoniously shaped like a slipper whose
13:23walls are once again completely smooth
13:36[Music]
13:47this gives us a total of seven Chambers
13:49five completed and two unfinished which
13:52would have been donated around 2,300
13:55years ago in 300 BC
13:59[Music]
14:06we were Amazed by their upright walls as
14:09smooth and flat as slabs of marble so
14:12smooth and Polished that they are almost
14:13mirrored even though they were carved
14:15out of granite one of the hardest rocks
14:17in the
14:18world you're probably no more familiar
14:21with this stonemason jargon than we were
14:23when we started our research so let's
14:25start by explaining what a dressed
14:26surface is it's a rough surface that has
14:29been struck to make it more or less
14:32flat there is a big difference between a
14:35smooth surface and a flat one smooth
14:39means soft to the touch sanded and
14:41Polished while flat means totally
14:45flat it can be smooth but not
14:47necessarily flat and it can be flat and
14:50not necessarily
14:52smooth but at barabar and nagaj Juni it
14:55is both smooth and flat which is
14:57apparently a unique conf configuration
14:59in cave
15:02art talking about it is one thing but
15:05measuring surfaces is quite another and
15:07for that we use among other tools a
15:09roughness tester but if you don't know
15:12us you're probably wondering what this
15:13device is and what are we doing with it
15:16and who are
15:20we we're a team with a passion for
15:23studying ancient archaeological sites to
15:26which we've already devoted several
15:27films with a different perspective more
15:30technical than
15:31[Music]
15:37historical for when the written word is
15:39silent buildings speak their design and
15:42construction testify to the scientific
15:44and Technical level of their designers
15:46and speak volumes about the relationship
15:48they had with the
15:50world the astonishing complexity of the
15:53barabar and nagaj Juni Chambers is a
15:55real Enigma and one you'll soon
15:57understand
16:01confronted with an enigma with no
16:03apparent solution the French philosopher
16:05and mathematician Renee deart advised us
16:07to forget everything we think we know
16:09about the subject just make a clean
16:11slate and start
16:12[Music]
16:17aresh faced with this kind of surface we
16:19can't help but think beyond the scantily
16:22clad worker equipped with the basic
16:24chisel hammer and capable of Feats that
16:26defy our modern reason
16:29what if parts of our history have been
16:31forgotten like the antia Thea mechanism
16:34presented in our previous film which
16:36disappeared 2,000 years ago before a
16:38copy was found at the bottom of the sea
16:41a mechanism that calls into question
16:42everything we thought we knew about the
16:44scientific and Technical level of the
16:46ancient Greeks what's worse is that not
16:48content with having forgotten it history
16:51didn't take the ancient authors who
16:52wrote about it
16:53seriously but let's get back to the
16:55roughness tester this device measures
16:58the roughness of a surface I.E the
17:00difference between its reliefs to the
17:02Micron or micrometer I.E to the
17:05thousandth of a millimeter to explain
17:07how it works we called on Mikel Tuton an
17:10engineer from the manufacturer of our
17:12device the SJ 210 consists of a body and
17:16a stylus with Runners for roughening
17:18flat
17:20surfaces we measure what we call
17:22roughness it's a measurement of a
17:25product surface
17:26finish RZ is a type of measurement the
17:29smaller the value the smoother and more
17:31Flawless the surface Granite is composed
17:34of quartz Feld sper and mic quartz being
17:38the hardest and most difficult to
17:39flatten and polish measuring surface
17:42accuracy on the hardest mineral helps
17:44determine overall accuracy and therefore
17:46the quality of the whole
17:49job in 2017 on our first visit geologist
17:53Eric Gontier ran the roughness tester at
17:55barabar and nagaj Juni and here's what
17:58we got
18:03to appreciate these results we need a
18:05point of comparison we asked Mikael to
18:07run the roughness tester over what we
18:09call a marble even though it's an
18:11industrially polished slab of
18:13granite we're going to take a
18:14measurement of an industrially produced
18:16marble which has been rectified so it's
18:19Granite we'll simply launch our
18:24measurement at the same time the RZ
18:27value of 9 492 can be seen these marbles
18:31are made by machines in
18:34fact on vertical surfaces in handmade
18:37caves we find values shall we say of
18:40arine nine times less imposing it's
18:43pretty pretty incredible
18:46though to continue the comparisons this
18:48Marble Slab was polished with this
18:53machine and when you run the roughness
18:55tester over it here's what you get
19:00and on the glass of a
19:04window we retook around 80 measurements
19:07in barar in April
19:10[Music]
19:152023 here's the best one obtained in
19:18sudama a chamber that's 2,300 years old
19:21at
19:23least that's barely more than window
19:25glass and almost 20 times more precise
19:28than this industrially polished slab of
19:31[Music]
19:41[Music]
19:49granite faced with such walls you can't
19:52help but think powerful machines were
19:54used in their
19:55creation that would simplify the matter
19:57considerably but at this stage of the
19:59investigation small imperfections seem
20:01to point towards the use of tools Guided
20:03by the human hand to an astonishing
20:06level of
20:09precision the result of 9.49 2 does not
20:12mean that we would be unable to polish
20:14granet as precisely as we do in barabar
20:17but simply that it is more than
20:18sufficient to check the Conformity of
20:20certain industrial
20:23Parts as Mikel tutan points out the
20:26walls of these Chambers are almost
20:27vertical because it's one thing to be
20:29able to polish surfaces horizontally in
20:31the direction of gravity but it's
20:33another thing to polish vertically or
20:35even more complicated inside the curved
20:37ceilings but to better appreciate the
20:39exceptional nature of the work carried
20:41out of barabar let's visit the son
20:43bandar
20:51site on this site there are two Chambers
20:54which have been dated on the basis of
20:56its inscriptions to around the third or
20:57fourth century ad I.E more than 600
21:00years after barabar the entrance passage
21:03to the first is a trapezoidal
21:06cross-section it resembles that of Karan
21:08choa gopa and
21:10vka today the chamber is topped by a
21:13concrete structure probably to reinforce
21:15it as on the right the ceiling of the
21:17second chamber has been completely
21:19shattered leaving it open to the
21:23sky the first chamber has a window but
21:26given the state of the second we don't
21:28know if it also had
21:29[Music]
21:33one sculptures can be seen as well as
21:35inscriptions on which the dating of the
21:37site is
21:42based but as humans have the annoying
21:45habit of replacing their predecessors
21:47names this dating is disputed by an
21:49indologist I.E an archaeologist
21:51dedicated to India
21:53[Music]
22:00they were carved from metamorphic shist
22:02a rock that is less hard than granite
22:04but also less homogeneous which explains
22:06why some parts are more polished than
22:08[Music]
22:11others but the vague resemblance with
22:13barabar and nagaj Juni ends
22:16there the walls are neither totally flat
22:19nor totally polished they're not sloped
22:22the floor is not level and far from it
22:24in short the work isn't much to look at
22:27and yet this project would have been
22:28completed over 600 years after those of
22:31barabar nagaj
22:33Juni the sense of progress as we know
22:36has been slapped in the face but how do
22:38you explain
22:40this quite simply because techniques can
22:43quickly be lost to Invasion War
22:45epidemics or changes in power which is
22:48why no Chambers or cve Chambers will
22:50ever match those of barabar or nagaj
22:52Juni no Chambers no there's just one
22:56more which took us a while to
22:59locate because in India distances are
23:01not measured in kilometers but in travel
23:04[Music]
23:10time the Camari chamber is located
23:13around 70 km from barabar carved out of
23:17a totally isolated rock against which a
23:19modern building has been
23:21[Music]
23:23erected very small around 5 m by 3 and
23:261/2 M it's shap AP could be a cross
23:29between vaka and
23:33vka as it's used religiously today it
23:35was difficult for us to investigate
23:42further the surfaces are very degraded
23:44and do not appear mirror polished as in
23:46barabar as they are covered in suot
23:49which by the way was not found in
23:50barabar or nagaj
23:54Juni it has no inscriptions and no one
23:57knows whether it was part of the barabar
23:59nagini chambers or whether it was made
24:01before or
24:02[Music]
24:06after it's hard to find detailed
24:09information about it and especially
24:11correct information because here's how
24:13archaeologist Percy Brown portrayed it
24:15in his
24:18book the article was then taken up by
24:20other books and blogs and finally
24:22integrated onto a Wikipedia page where
24:24we even speculate on the influence of
24:26the incorrect pointed Arch on subsequent
24:29constructions on-site studies are
24:31essential they sometimes lead to
24:33important realizations such as that of
24:36indologist Harry FAL an indisputed
24:39specialist in the life of King Ashoka
24:41and in our opinion the author of the
24:42most important works on the barabar and
24:44nagouri Chambers here's what he wrote
24:47about them in his book one of the most
24:48comprehensive to date of technical
24:51Perfection only a combination of
24:53devotion a belief in achieving The
24:55Impossible fanaticism indifference to
24:59a sense of aesthetic a love of technical
25:01Perfection and a desire for recognition
25:03by Future Generations would lead someone
25:05to initiate such work this combination
25:07has no equal in Ancient India equal in
25:10Ancient India first of all let's go over
25:13a brief history of the discovery of the
25:15chambers in 1785 John Herbert Harrington
25:18discovers four of the chambers abandoned
25:20for centuries Karan choer sudama lus
25:24Rishi and gopa no one knows who made
25:27them when or why
25:29[Music]
25:311811 Francis Buchanan found a new
25:33chamber in barabar vzv opri and two more
25:36in nagaj Juni vaka and
25:39vka 1837 at nagaj Juni James PRP
25:44deciphers inscriptions in brahi a
25:46language used over 2,000 years ago which
25:49tells us that vapa vka and gopa were
25:52offered by King dashara to the Aika sect
25:55for protection from the rain
25:591847 marham Kau discovered an almost
26:02faded and elgible inscription in brahy
26:05on the facade of Karan
26:07chapar
26:091861 Alexander Cunningham attributes the
26:12barabar chambers to King Asoka
26:14supposedly dasher's father or
26:19grandfather
26:201925 Eugene hch deciphers the
26:24inscription discovered by Kau and
26:26concludes that the barabar chambers are
26:27also Al rain
26:30shelters the case of these enigmatic
26:32Chambers has finally been
26:36solved but in 1997 Harry FAL challenged
26:40hul's translation while barbar Chambers
26:43were indeed donated by King Asoka no
26:45function is
26:47mentioned that's where the research
26:49stood in 2017 when we discovered them
26:53Third King of the Moria Dynasty founded
26:56by his grandfather King Shandra deoria a
26:59shoka is thought to have commissioned
27:00these
27:02Chambers in the e8th year of his Reign
27:05intent on taking the pacifist feudal
27:07state of Kinga Asoka LED India into the
27:10deadliest war of its history claiming
27:12over a 100,000 lives and taking over
27:14150,000
27:16prisoners Ashoka followed Iranian
27:20mercenaries to have that Kinka War uh
27:24affected to his desesperation in the
27:29end deeply regretful Ashoka converted to
27:32Buddhism and spent a year in a retreat
27:34at a
27:36monastery the small move move uh
27:39movement of of the Buddhists it was not
27:42a big thing as we know nowadays it was a
27:45small group and without Ashoka Buddhism
27:48would have
27:49disappeared he is said to have reigned
27:51about 28 years gifting barbar's Chambers
27:55to the ajivika a group of Beggars who
27:57live virtually
28:00naked Asoka changed India from a clay
28:05and bamboo country to a stone country
28:08same thing like Augustus changed Rome
28:12from a wooden town to a stone Town
28:14there's nothing that you can can point
28:17out and say this Stone technology was
28:21there and at such such a height of
28:24Technology it's not just ston work it is
28:28Perfection together with the Asoka
28:31pillars each weighing around 30 tons
28:33these Chambers are believed to represent
28:35the first Moria Stoneworks whose main
28:37characteristic is the Moria
28:40polish let's look now at the dating of
28:43the chambers based on the engraved
28:45inscriptions if those attributed to a
28:47shoke or anything to go by the earliest
28:49would be those of
28:50barabar among them suda is said to have
28:53been the first gifted by a shoker we
28:56find a dedication that has been
28:57translated as follows this cave called
29:00negoda was given to the Aika by King
29:03priodin when he was anointed for his
29:0512th year of Reign priodin refers to
29:08aoka the word ajivika has been scratched
29:11out and no function is
29:14[Music]
29:16indicated it was also in the 12th year
29:18of ashoka's Reign that the visva zi
29:20chamber was
29:22gifted here again the term aiva has been
29:26scratched out no function is indicated
29:28and it's dedicated even though it's not
29:33finished then 7 years later Karan choer
29:36was gifted to the Aika according to
29:39Eugene hch the inscription has long been
29:42interpreted as follows when I King
29:44priodin had been anointed 19 years this
29:47cave in the very pleasant catika
29:49Mountain was given for shelter during
29:52the rainy season but after cleaning it
29:54Harry FAL proposed a new reading King
29:57priodin came to jalut when he was
29:59anointed for his 19th year of Reign on
30:01that occasion he gave this cave called
30:03sua to the
30:05Aika there's no proposal from my side
30:08there's only a reading and everybody who
30:10goes there has no choice but to read the
30:13same thing no mention of a shelter then
30:16as for Lomas Rishi there is no
30:18dedication dating from the Ashoka period
30:20because it is
30:25unfinished but this argument doesn't
30:27hold up in the Viva opri which is also
30:29unfinished and yet
30:31[Music]
30:34dedicated as for the nagaji chambers
30:36they were gifted by ashoka's successor
30:38dashara ashoka's son or grandson as soon
30:41as he ascended the throne an early
30:43inscription reads this cave called vapa
30:46was handed over to the respectable
30:48ajivika as a residence for the rainy
30:51season as long as the Moon and Sun were
30:53last by dashara beloved of the Gods as
30:56soon as he was installed as king
31:00same text for vka and gopa only the
31:03names of the chambers have changed there
31:06only a short time between Ashoka and
31:08dharata and he could have been his son
31:13or he could could have been his grandson
31:15if dashara gifted the chambers as soon
31:18as he started his Reign it was because
31:20they had already been made uh the idea
31:23that all the caves have been um ordered
31:27to be made by by our shoka is quite
31:29widespread this means that all the
31:31barabar and nagaj Juni Chambers would
31:33have had to have been produced in 28
31:36years the entire duration of a shoka's
31:38[Music]
31:41rain importantly none of these
31:44inscriptions either at barabar or nagaj
31:46Juni mention manufacturing only
31:49donations
31:52[Music]
31:58later inscriptions show that some people
32:00did not hesitate to have their names
32:02engraved without actually being the
32:04creators of these Chambers in barabar on
32:07the porch of Lomas RI in the 5ifth
32:09century CE around 700 years after Asoka
32:13and on the walls of the entrance
32:14passages to other Chambers
32:19[Music]
32:28finally there's a mention of ashoka's
32:30gifting of the barabar chambers in the
32:3227th year of rign but French indologist
32:35Jules block remains cautious if the
32:38donations of the caves to the Aika are
32:40indeed
32:42his the uninscribed upper part of one of
32:45these spectacular broken pillars has
32:47been transported to bodgaya there have
32:50been no pillars in India and suddenly
32:53you have huge heavy 30 ton pillars all
32:57over India carried to places with
33:01inscriptions erected having a capital
33:04and having a beautiful animal on top out
33:07of the blue out of nothing there's not a
33:09single pillar that is older or anything
33:12the
33:12like the sudden existence of the pillars
33:15like the chambers is intriguing as they
33:18seem to all spring up out of nowhere an
33:20important Point nowhere can we find any
33:23kind of prototype I.E the places where
33:25workers practiced and trained to acquire
33:27the knowledge and exceptional Mastery
33:29needed to create the
33:33chambers if they are indeed the first of
33:35their kind in India where do the skills
33:37come from faced with this crucial
33:40problem of the absence of prototypes and
33:42perhaps in search of a totally Indian
33:44origin for knowledge and techniques the
33:46indologist Gupta rejected the sandar
33:49inscriptions moving back its dating via
33:51Century before barabar to 400 BC
33:54therefore making it the missing link
33:56between the natural caves and the barar
33:58Chambers doing this shows that the
34:00validity of an inscription can be called
34:02into question an interesting fact to
34:04read from an indologist the other ways
34:06around is is more likely that Ashoka was
34:09there as the first and zand is simply a
34:12copy of it there are two answers to
34:14barbar's technical Miracle the first it
34:17being Supernatural comes from Camari
34:19where a pujari a priest still officiates
34:22today Harry FAL met his predecessor on
34:25his first visit in 93 he said the gods
34:29have made this do you think that men
34:32could do it this was his words the
34:35second it being historical is that the
34:37skills needed to make them come from the
34:39Persians and their aramin tombs which
34:41would explain why barabar and nagaj Juni
34:43are unique in India and if any culture
34:46would have been able to do that people
34:49living in that area they would have done
34:51it more than once entry is strictly
34:54forbidden but the few photos available
34:56show that it's not at all the same
34:57quality of
34:58[Music]
35:02workmanship neither for the vaulted
35:04ceilings nor for the walls which don't
35:06have flat polished
35:08surfaces which are not
35:14inclined is it even possible to achieve
35:16such results on the first try without
35:18ever having done it
35:21before when it comes to stone masonry as
35:24companion member Eric Bernard points out
35:27well olist May well speak for the
35:28stonemason but the stonemason has the
35:30last word in all this because he knows
35:32his
35:35[Music]
35:36limits now the most important thing the
35:39function of these Chambers when we think
35:43about the purpose of the caves we see
35:47that there is a sort of a difference
35:49between nagaraj Hills and baraba in N
35:54Hills dasar says he hands over over the
35:58caves for the aljas so that they have a
36:01place to stay when the rains start
36:05pouring down in the monsoon there is no
36:09good reason to produce such caves only
36:13as rain
36:19shelters for my taste these caves are
36:24royal caves
36:28this Brilliance as Royal it is so has
36:31nothing to do with the life of an
36:34ordinary athetic be he Buddhist or alji
36:40or Jin or or
36:42whatever whoever sees these caves will
36:46think of the royal family and of the um
36:51uh personality of Ashoka who was able to
36:56have such caves produced if they were
37:00indeed made during ashoka's Reign I.E in
37:02about 28 years would they have been
37:05immediately passed on to the
37:07[Music]
37:08ajivika he did did not make them for the
37:11aikas in in the end he wanted to get rid
37:14of these
37:16caves I think it is quite possible that
37:20the two 12E inscriptions so-called 12E
37:24inscriptions have been inscribed much
37:27later than the 12th Year and that even
37:31the names uh were invented by the
37:35[Music]
37:42arjas so let's recap these Chambers
37:45along with the pillars are believed to
37:46be the first Moria Works in polished
37:48Stone they would have been carried out
37:50over a period of around 28 years they
37:53were the first of their kind and the
37:55knowledge could have been imported
37:58shelter would not necessarily be their
38:00primary
38:01function all the inscriptions could have
38:03been engraved long after the chambers
38:05were built and do not constitute
38:07irrefutable proof of dating or its
38:09original function and finally looking
38:11collectively at all the previous work we
38:13have no definitive answers it it saves a
38:16lot of time thinking if you stick to
38:18your own idea and particularly if you
38:21have written about something mhm that's
38:25the end of most strong ideas they stay
38:29there because otherwise you would have
38:31to confess in writing that you that in
38:34earlier writings you have been wrong
38:37Harry fal's presence in this film does
38:38not imply that he agrees with our
38:40hypothesis we sincerely wish to thank
38:42him for playing the difficult role of
38:44spokesperson for an archaeological
38:46Community unable to speak on this topic
38:48with one voice which he sums up with
38:50humor if you have two archaeologists you
38:52find three opinions so um every every
38:58possible opinion has been published in
39:01writing and in in in lectures so without
39:06making one better than the
39:09other all these past researchers were
39:12missing critical information simply
39:14because they didn't have access to the
39:16technology we do now and that's exactly
39:18where our team comes
39:20in during our January 2017 exploration
39:24we had tried to measure these Chambers
39:25with a rangefinder a lazy that measures
39:27distance but it didn't work because of
39:29the sloping walls the laser beam hit
39:32lower down in front and made precise
39:34measurements impossible that's why we
39:36asked Art graphik pachon or AGP a
39:39company founded by former stonemason
39:42from a long line of stonemasons to 3D
39:44scan the barabar and ninii
39:47Chambers each one was scanned as it
39:49stood with at least 2,300 years of wear
39:52and tear dust wasp nests and Limestone
39:55deposits on some walls due to water
39:57infiltration as well as all the damage
39:59done over
40:01time it took us 2 days on site with 3 to
40:04six scans per chamber each defined by
40:07millions of points I.E one point every
40:09millimeter with a Precision of around
40:122.5 mm plus or minus this inaccuracy
40:15means that the volumes of space vary
40:17proportionally with much less impact on
40:19angles AGP then assembled all the point
40:22clouds for each chamber these Point
40:24clouds represent the chambers in three
40:26dimensions without any Optical
40:28Distortion you think it was actually a
40:30geometric 3D model you see a
40:33three-dimensional image like an MRI what
40:35exists once we have it in three
40:37dimensions we slice it up like an MRI to
40:40understand and
40:42interpret so these are not computer
40:44generated representations but exact
40:47reconstructions which can be seen most
40:49clearly in the scans of the unfinished
40:50lus Rishi and viz Chambers it's
40:53unfinished or modified we don't know you
40:56can see straight away that the capture
40:57is real and on all the others is the
40:59same thing just because it looks like
41:01something perfectly geometrical doesn't
41:03mean it's a fake no it's reality as
41:05measured by the metrological device when
41:08the previous film was completed AGP
41:10provided us with some floor plans
41:12telling us that these Chambers were all
41:14symmetrical in length
41:16symmetrical if you didn't jump at the
41:18mention of the word it's because you
41:20don't yet know exactly what it
41:22implies symmetrical means that you can
41:25cut the chambers in half length ways and
41:27superimpose each part exactly on the
41:29other the left half on the right and
41:31vice
41:32versa if you did this with your
41:34apartment it's likely that the space
41:36would not be symmetrical as Precision
41:38tolerances in modern construction vary
41:40by a few centimeters but to quantify
41:43these symmetries we needed the detailed
41:45scan analysis report it's a 40-page
41:48dossier of figures and findings some of
41:50which we're going to share with
41:53you AGP warns of noise due to highly
41:56reflected surfaces that make
41:58measurements slightly blurred there's a
42:00mirror effect on it and this mirror
42:02effect will reflect the laser giving it
42:04that measurement
42:06noise striations also appear in various
42:09places but they don't exist in reality
42:12precisely it's the measurement noise
42:13that we're seeing here you get the
42:15impression that the markings here are
42:16very deep whereas we're are talking
42:18about 510 of a
42:22millimeter we'll break down the volume
42:24of space in this way large walls small
42:26walls
42:27ceiling birth line and of course the
42:29volted ceiling on this cross section of
42:32the ground scan the outer line has a
42:34certain thickness because the wall isn't
42:36perfectly vertical the difference in
42:38Plum that we have here it's the
42:39thickness that we find here and we can
42:41see it directly with the third dimension
42:43to familiarize you with their language
42:45AGP informs us of a ground Trace with
42:49virtually no defamation which means you
42:52could say that we're perfect to within
42:5510° which is relative
42:58Perfection and when it comes to symmetry
43:01as in the case with gapa where 62% of
43:04the 350 million points are in the same
43:06place within a 2.5 mm Tolerance on
43:09complex shapes like that yes we're
43:11perfectly symmetrical there's just no
43:13discussion here it's
43:15symmetrical here is the gist of the
43:18report chamber one vaka this scan is
43:22defined by 132 million points entrance
43:25passage precisely centered on short side
43:29rectangle on the ground with virtually
43:31no deformation perfect right angles to
43:33within a tenth of a degree small walls
43:36inclined at 88.5 de vary by 8/10 of a
43:40degree along the entire length large
43:43walls at
43:4487° vary at 1/10th of a degree volted
43:49ceiling formed by a perfectly centered
43:51circular Arc perfectly horizontal ground
43:54and ceiling start line longitudinal
43:56symmetry tree volted ceiling cut
43:58lengthwise right part superimposed on
44:01left and vice versa 69.7% of points in
44:05the same place within a 2.5 mm tolerance
44:09transverse symmetry widthwise 75.1% of
44:13points within a 2.5 mm
44:15tolerance chamber two Karan Chopper
44:19cloud composed of 132 million points
44:22entrance passage placed at the
44:24intersection of a square built on the
44:25short side near perfect floor rectangle
44:29small 89° inclined
44:34walls large walls inclined at 87.3
44:40De voltage ceiling formed by a
44:43combination of three centered
44:46arcs perfectly level
44:49floor longitudinal symmetry
44:5377.6% of points in the same place trans
44:57transverse symmetry
44:5967.8% of points in the same
45:03place chamber 3 Vada Tika cloud composed
45:07of 110 million points entrance passage
45:11centered on short side 5° offset from
45:14the
45:15perpendicular no start line and volted
45:17ceiling fully curved section chamber
45:20formed by square plus
45:23semicircle side wall floor angle 85 .
45:295° angle of inclination of curved bottom
45:32wall 83.7
45:34de angle of inclination on short side
45:3788.5
45:39de. bolted ceiling composed of three
45:42centered
45:43arcs perfectly level
45:46floor symmetry
45:4957.7% of points in the same place
45:52chamber four gopa 350 million points
45:56cloud
45:57the entrance passage is placed at the
46:00intersection of a circle built on the
46:02short side angle of inclination of large
46:04walls
46:0987° ground and start line of ceiling
46:12precisely horizontal the shape of the
46:15chamber is slightly oval the large walls
46:17are slightly curved by less than 6 cm
46:20along their entire length on the floor
46:22there are portions of circles with a
46:24radius of 120 m
46:27voled ceiling composed of three
46:29interlocking rib
46:31sections apart from the floor and the
46:34sides of the entrance passages this
46:35chamber is entirely composed of Curves
46:38longitudinal symmetry 62% of points in
46:41the same
46:43place chamber five suda 232 million
46:47points Cloud this chamber has two rooms
46:51first perpendicular entry passage set at
46:531/5 the length of the long side
46:56[Music]
46:59second entrance passage perpendicular
47:01and
47:02centered the curved wall of the chamber
47:04one follows precisely the inner wall of
47:07chamber 2 large side walls inclined to
47:0987.1
47:11[Music]
47:14De small 89° inclined side
47:18panel the wall of chamber 2 is inclined
47:20at 86.7
47:23De the volted ceiling of chamber 1
47:26consists of a cylinder of constant
47:28radius centered on the longitudinal axis
47:31horizontal floors symmetry 61.1% of
47:35points in the same
47:36[Music]
47:40place thanks to this report we now know
47:43the constraints given to the stonemasons
47:45before they start work shapes precise
47:47dimensions and angles the so-called
47:50specifications and in this case it's
47:53truly mindboggling firstly these five
47:56Chambers are are symmetrical the
47:58slightest variation in shape on one side
48:00will be mirrored on the other secondly
48:02the position of the entrance passages
48:04follows a particular geometric
48:08[Music]
48:13logic finally the shapes are more
48:16complex than they appear the large walls
48:19of vaka and Karan choa are inclined at
48:21different angles and mirror each other
48:24vapa and suda's volted ceilings are
48:26portions of cylinders vada's shape is
48:29composed of several intermingled spheres
48:32gopa's large walls are very slightly
48:34curved and
48:37inclined Karan Chopper's voltage ceiling
48:39is made up of three cylinder
48:41sections gopa's volted ceiling is
48:44composed of three ribed
48:47[Music]
48:50sections a surveyor and topographer
48:53produced a second report based on the
48:54raw scan data extending AG's work and
48:57revealing new
49:00features we start with this breakdown of
49:03clar portions and break them down I take
49:05only the points measured by the scammer
49:07and then I ask the software to calculate
49:10the best sphere to approximate all these
49:12points we do the same thing with our
49:14Point Cloud which is on the other side
49:17but cut off for us it is as if we were
49:21two completely independent clouds in
49:23space so we start a new calculation and
49:26that's what's going to be interesting is
49:28that when we take these Point clouds
49:30that are positioned in different places
49:32we're going to get similar information
49:33on both sides right and left in other
49:36words these two ends of the ceiling are
49:38portions of spheres which are
49:40symmetrical with their centers aligned
49:433956
49:463953 these may be numerically different
49:48values but in terms of results and
49:50measurements and in terms of measurement
49:51certainty or uncertainty we can
49:53correlate these two figures very well
49:55given the imprecision the scam noise
49:583953 equal
50:013956 these aren't only portions of
50:04spheres you can see it's much more
50:06complex than
50:08that in other words here are the size
50:10deviations from the original geometric
50:13shape are
50:14symmetrical they made the same mistake
50:17on each side and they made the same
50:19mistake following the same model so it's
50:23not an
50:25estake the vol ceiling is made up of
50:27fused portions of curved lines and
50:29spheres all
50:33mirrored he then proceeded in the same
50:35way with vka the software produced a
50:38perfect sphere shown in blue in this
50:41image what we can look at is the
50:43distribution of points in relation to a
50:45sphere and here we have a truly
50:47remarkable diffusion of colors found
50:50symmetrically and homogeneously on each
50:53side in other words we're not following
50:55the perfect shape but but we are
50:57following a perfect symmetrical volume
50:59distribution whether we're on the right
51:02left top or
51:04bottom the designers of this chamber
51:06didn't want to create the perfect
51:08section of a sphere but this specific
51:10shape since it's
51:12symmetrical finally here is an extract
51:14from the third report produced by a
51:16companion stonemason a specialist in
51:19three-dimensional geometry a simple
51:21observation made in Goa as a reminder
51:24today's standard for Paving flatness is
51:26level tolerance a 2 m ruler must not
51:28show a difference in alignment greater
51:30than 2 mm I.E 1 in a thousand on a plane
51:34here we have one in 100,000 in a
51:37three-dimensional space what can I
51:41say I don't believe for a second that
51:44it's done to look pretty and please
51:47oneself when you put so much energy into
51:50developing something like this there
51:52must be a reason I don't know what the
51:54reason is to achieve a level of symmetry
51:57and finish and stone cutting like this
51:59you need to be at the very top of your
52:01craft and so we are at the Pinnacle of
52:05what can be done at that
52:08moment plans statements figures but what
52:11do they actually mean how complicated is
52:13it to create these
52:16Chambers who better to Enlighten us than
52:18the stonemasons who for centuries have
52:20been Master Builders and secret
52:23[Music]
52:24Keepers our investigation took us to
52:27Britany the land of granite to non then
52:30to Paris where we met stonemasons who
52:32agreed to look into the case of these
52:37Chambers Eric Bernard companion member
52:40an architect with over 40 years
52:42experience Olivia LaVine companion for
52:4430 years who has studied ancient carving
52:47in Egypt for 25 years Frank petia former
52:52stonemason Matthew anof stonemason turn
52:55fitter Who currently manages is masonry
52:57and stonemasonry projects for Heritage
52:59restoration companies Louis Joseph
53:02lamboro son grandson and great-grandson
53:04of stonemasons who has worked for over
53:0630 years restoring historic monuments in
53:08Paris and now runs his own Stonehouse
53:11manufacturing
53:12business Joel carave Artisan Granite
53:15stonemason for over 40 years and
53:18Kristoff kiny Artisan Granite stonemason
53:20for 28
53:23years we showed them the chambers and
53:26the AG GP report and ask them to rate
53:28the work on a scale of 1 to 10 with one
53:30being the easiest and 10 being the most
53:32difficult we're at 9.5 for difficulty of
53:36work
53:3810 10 maybe even 12 10 even 20 well it's
53:43simple alha
53:4412 well for the sake of argument I'd say
53:4812 at least to put the object in the
53:50context of our
53:52reality you've got to have hit a rock in
53:54Granite to know what it's like the
53:56complex of it and done some geometry
53:58that's why people who haven't done this
53:59thing can't understand
54:02it before AGP we could think yeah we're
54:06professional men not afraid of anything
54:08but the specific demand is outstanding
54:11you have to understand
54:13that so we're capable of making a
54:15chamber like that with more or less the
54:18same finish
54:19polish it's pleasing to the eye but we
54:22wouldn't match the required
54:24specifications that is very clear
54:27in other words curves of 120 m in
54:29diameter and 30 m long will do them but
54:33then if you put AGP scans on our work we
54:36run the risk of looking
54:38[Music]
54:42like there are many stages before
54:44arriving at the soft and and Polished
54:46form and each stage brings its own share
54:48of errors and inaccuracies so if in the
54:50end you achieve this Precision it's
54:53because all the stages have been
54:55mastered it's not just Mastery of the
54:57materials but also master of geometry
55:00cuz that means we start by making the
55:02door and we already know exactly what
55:04we're going to do
55:06next if we used Fresco or something like
55:09that it would have stood up the work and
55:11concealed any
55:13imperfection with geometric
55:16Perfection there's no forgiveness no
55:19room for
55:21error digging inside a rock and
55:23rendering a polished finish like that I
55:26have have no idea how they did
55:29it either they spent centuries polishing
55:32I don't know with lots of little arms
55:34that never stopped honestly I have no
55:36explanation it's made of granite one of
55:38the hardest materials around but today
55:41I'm pretty sure we couldn't do
55:44it perhaps we could actually meet this
55:47requirement by fitting blocks and so
55:52on to excavate it like that no
55:57I don't see any possibilities at the
55:58moment there's no I don't see any
56:01possibilities right now and even with
56:04mechanical tools to achieve such a
56:06result it's still
56:08complicated nowadays we wouldn't be more
56:11precise with much more developed means
56:14because in fact we're dealing with a
56:15rostic size so we couldn't put in all
56:17the facilities that would allow us to
56:19have something even more
56:20precise so we couldn't do any
56:23better to make a bar bar type chamber
56:26with hand tools first rough out the
56:28general shape with pics and then work
56:30with a variety of progressively finer
56:32chisels and then rub the surface with a
56:34paste made from abrasive chemicals can
56:37we start over as many times as it takes
56:39and finally
56:41polishing at the polishing stage the
56:44shape is already completely
56:46finished it's absolutely essential that
56:48the facing is perfect and straight
56:50before you even start rubbing to achieve
56:53that mirror polish
56:54[Music]
56:56the Polish will be uniform so we will
56:58remove the same thickness everywhere so
57:01any defect will be visible there's a
57:03geometric shape that's defined so going
57:07Beyond those limits is out of the
57:09question so we have to get close to it
57:12so there's all the polishing that's
57:13going to take a bit of material to
57:16therefore if you want to get right down
57:18to it that means you've understood and
57:21you know how thick you're going to
57:23polish what's interesting about
57:25polishing
57:26in the case of these caves is that it
57:29also shows a level of execution because
57:32polishing Vault ceilings is hell of a
57:36job here again there's a demonstration
57:39of extraordinary
57:41Mastery it's manageable on Workshop
57:44surfaces on a table and so on but here
57:48on a regulated surface clean with no
57:51tool marks ready to be polished it's
57:54mindblowing it's it's compl completely
57:56unique
57:58unique is it really possible to embark
58:01on such a project without ever having
58:03done it before it's not the work of a
58:05beginner nor a qualified or highly
58:08qualified person it's a qualified hyper
58:11qualified person we don't know
58:14today it's
58:16deliberate it's deliberate it's planned
58:19and there's no room for error you can't
58:21make changes along the
58:24way there's an extraordinary Mastery of
58:26geometry and equally extraordinary
58:28Mastery of
58:30materials this means that there are
58:31years and years of apprenticeship before
58:33that that's why you can't just jump into
58:35a job like that from one day to the next
58:37and say hey let's make a cave it's not
58:40possible you wouldn't have the same
58:42quality and finish if it were a trial
58:44run there would be a few little mistakes
58:47a few little adjustments and see the
58:49evolutions for the C but here it's clear
58:53that they are the same level of finish
58:55which corresponds to level qualification
58:56of the workers so it does not come from
59:01nowhere when you see the results you get
59:03the impression that it's all done by one
59:05hand because it's so regular so perfect
59:08that you don't get the impression that
59:09there were so many people working on
59:12it this place vibrates like something
59:15that's the result of a joint effort a
59:18group cohesion that is
59:21[Music]
59:23mind-blowing every step of the process
59:26has the potential to go wrong and ruin
59:29the
59:30project I've witnessed multiple
59:32conflicts and for reasons far less
59:35complicated than
59:36that so in my opinion they've reached a
59:40level of cohesion that's really
59:43astonishing the human commitment here is
59:47quite
59:49enormous the report revealed the
59:51symmetries of the chambers that no one
59:53had seen before these scans can you make
59:55some symmetrical shapes by
59:58accident it can't be chance clearly it's
1:00:00really calculated done on purpose
1:00:03nothing is done at random everything has
1:00:05a reason that's obvious to me chance is
1:00:08out of the question we have to start
1:00:10from very precise reference points that
1:00:12will be defined from the outset before
1:00:14we can cut meaning we don't just show up
1:00:16and say oh we're going to do it here no
1:00:18no no no no before we do it we know very
1:00:20well that there are a minimum number of
1:00:22symmetrical reference points that we
1:00:23need to take and from that we can Define
1:00:25everything else so they decide
1:00:28beforehand it means that this symmetry
1:00:31is imposed and imposes pure rigor on the
1:00:35execution the Symmetry is pushed pretty
1:00:37far in the construction it's no
1:00:39coincidence that this was intended at a
1:00:41given moment it was executed in this way
1:00:44that's what we can see today from our
1:00:47measurements if you add symmetry to the
1:00:49volume it doubles the complexity yet
1:00:53another constraint
1:00:56don't have the symmetric and straight we
1:00:58move ahead and then it's visually
1:01:00acceptable we stop the
1:01:02work on the other hand if the
1:01:05specifications are so demanding that
1:01:07millimeters have to be present
1:01:09everywhere then it's a different kind of
1:01:12fish it's twice the work 10 times the
1:01:17work making a reversible copy paste of
1:01:21the two forms at this level of precision
1:01:26it's the worst thing shown by the
1:01:29results of the
1:01:31scans which has
1:01:34everything everything to mess with a
1:01:38professional what about the Precision of
1:01:40the scans and
1:01:42measurements getting to be more precise
1:01:45than that is going to be very very
1:01:48complicated I mean you can tell that
1:01:50they've gone all the way given the
1:01:52resources available at the time I find
1:01:55this precision mind
1:01:57B for me it's not great Precision it's
1:02:00extreme Precision it's astonishingly
1:02:04precise in a material like this with a
1:02:06polished finish the gaps that can be
1:02:09measured with today's extremely
1:02:10sophisticated
1:02:12tools honestly that's the most
1:02:14impressive the most amazing thing we
1:02:17ourselves for much simpler things are
1:02:19not so precise it's that in the field of
1:02:22mechanical production with volumes 1,000
1:02:25times smaller so much easier to master I
1:02:28don't know that's the most impressive
1:02:29part Precision for me as a
1:02:34stonemason measuring in millimeter is
1:02:37normally only used for precisely
1:02:39engineering structures for monitoring
1:02:41nuclear stations for things or
1:02:43structures that require analysis of
1:02:45movements that are themselves
1:02:48millimeters when you look at the
1:02:50potential discrepancies in the 3D scan
1:02:52when we're talking about symmetry with
1:02:54discrepancies of three 4 5 mm maximum
1:02:58it's something that's hard to imagine on
1:03:00such volumes yes it's Ultra
1:03:04precise what level of stress is involved
1:03:06in such excavation work there is
1:03:09Darkness there's
1:03:12Dustin if there are 20 Craftsmen working
1:03:14in the same cave after 2 hours everyone
1:03:17will die of heat in there so at some
1:03:20point you're going to have to get out to
1:03:21cool off that'll also be the problem of
1:03:24light working 10 or 12 hours a day in
1:03:27such small volumes I honestly don't see
1:03:29how we could do that the problem is that
1:03:32someone who has undergone 10 years of
1:03:34training to reach the top of his
1:03:36profession it would be a shame to waste
1:03:38him after 5 years with silicosis because
1:03:40he's been working in a
1:03:46c we haven't changed in the last 3 or
1:03:494,000 years we're still the same there
1:03:51are specifications deadlines and it's
1:03:53just like today got a job to do a
1:03:56project owner project manager and then
1:03:58you have to get on with
1:04:00it the question on everyone's lips how
1:04:03long would it take to make one you can
1:04:06imagine anything but that would be pure
1:04:09speculation now if you imagine manual
1:04:11labor I can only imagine it working over
1:04:13a very long period of time but with
1:04:16infinite patience to achieve this result
1:04:18with this
1:04:20mirror for complex Chambers 10 years is
1:04:23the minimum after that it also depends
1:04:26on the tools they have in their skills
1:04:28the more competent they are the more
1:04:29they'll be able to gain perhaps in speed
1:04:32in any case in an exercise like this
1:04:35time isn't the issue yes it is the
1:04:38chronology given by the inscriptions
1:04:39suggests that these seven Chambers took
1:04:41about 28 years to complete for sudama
1:04:44the most complex it would have taken 12
1:04:46years no no no no it's not
1:04:51possible it's not
1:04:53possible 12 years
1:04:56but these completion times have been
1:04:58calculated from the engraved
1:05:00inscriptions there is a gap between the
1:05:02inscriptions and the chambers they
1:05:04weren't made at the same time that's
1:05:06obvious there's a discrepancy that gives
1:05:09me the impression that they were made
1:05:10much later in any case it's not the same
1:05:15period if you compare the cave and the
1:05:17inscriptions there's a bit of a gap
1:05:19between the two I mean it's legible but
1:05:22just not at the same level
1:05:26the engraving is done in a very basic
1:05:28way which has nothing to do with the
1:05:30quality of the work it's just punched
1:05:34you could say that they needed to put a
1:05:36message on it the person hadn't mastered
1:05:38engraving and he just came to claim
1:05:42ownership just because it's inscribed
1:05:44does not mean there has to be from that
1:05:46era the king May well have asked to put
1:05:49his name on something that already
1:05:51existed the connection isn't necessarily
1:05:54obvious
1:05:57he's in power at this state and then he
1:05:59gives the cave away 12 years later but
1:06:01we don't say that he had the caves made
1:06:03or that he had them built it's easy to
1:06:06imagine this famous King letting his
1:06:08hands on the caves and having them
1:06:10engraved with I offer them that's all
1:06:13but it's not necessarily him who had
1:06:15them made there's no evidence that he
1:06:17had them made you wonder whether the
1:06:20people who had them engraved as rain
1:06:21shelters were really aware of the
1:06:23Colossal amount of work that went into
1:06:25them and of all the technical
1:06:27constraints that were completely
1:06:28unnecessary to the function of a simple
1:06:30shelter maybe by the time the chambers
1:06:32were gifted the original purpose for
1:06:34them had long been
1:06:36forgotten why are these shapes why are
1:06:39these perfect symmetries why go from
1:06:41your polish if it's just a shelter from
1:06:43the monsoon all we need is a
1:06:45cave it's
1:06:47heartbreaking it feels like the building
1:06:49has lost its sacred Dimension if it's
1:06:52dedicated and then given over to be used
1:06:54as a monsoon shelter
1:06:57I find it hard to believe that that was
1:06:59its original vocation obviously when the
1:07:01king gives it away it's because he no
1:07:03longer has any use for it and that's why
1:07:05he's G me away so in fact there's a risk
1:07:08that we're talking about things that
1:07:09happened before how much are we after
1:07:12that there are only archaeological dig
1:07:14nearby that would allow us to put some
1:07:15things in place that's the problem with
1:07:17the written word the written word is
1:07:19propaganda so to make yourself look good
1:07:22you're going to put test everywhere
1:07:23let's mention Ram say to put his name
1:07:25name everywhere even when he didn't do
1:07:30[Music]
1:07:34it when I see the work of these Chambers
1:07:37I'm stunned amazed in awe speechless
1:07:40bewildered I'm at a loss I say to myself
1:07:44how could this have been
1:07:46done there's something fantastic about
1:07:49this chamber set alone it's fantastic in
1:07:52terms of geometry finish and cra
1:07:58manip no matter how many times I think
1:08:00over it it's
1:08:03disarming this is the first time I've
1:08:05been so professionally
1:08:11confused out of the fear of having our
1:08:13current version of History Rewritten
1:08:15some will argue that our ancestors were
1:08:17simply capable of specific skills that
1:08:19us modern people have lost but if it was
1:08:22that simple these Chambers wouldn't be
1:08:24the only ones for the construction sites
1:08:27that followed in Ancient India although
1:08:28grandiose and complex in their own way
1:08:30have little in common with what we find
1:08:36[Music]
1:08:46here the aanta site is a group of
1:08:49Buddhist caves carved into a long
1:08:50horseshoe shaped bassal Cliff
1:08:53construction began around the 2nd
1:08:54Century BC
1:08:55around a century after
1:08:58barabar abandoned and forgotten for
1:09:01centuries rediscovered in 1819 by
1:09:03British soldiers this UNESCO world
1:09:06heritage site is considered one of
1:09:07India's greatest architectural
1:09:11[Music]
1:09:13Treasures the term cave is rather
1:09:15reductive these are actually temples and
1:09:18prayer Halls famous for their
1:09:19magnificent sculptures and murals which
1:09:21reflect the teachings of Buddha
1:09:24[Music]
1:09:26they required considerable
1:09:28[Music]
1:09:30resources some of these would have been
1:09:32used as shelters during the rainy season
1:09:35perhaps inspiring the inscriptions on
1:09:37the nagaji
1:09:40chambers it's hard not to be impressed
1:09:43by the sheer amount of work that must
1:09:44have gone into building this site spread
1:09:47over more than six
1:09:50centuries what you see here was carved
1:09:53not assembled the whole thing was made
1:09:55meticulously thought out and
1:09:57organized although this site is truly
1:09:59spectacular the work does not compare
1:10:01with that of barabar and nagaj Juni when
1:10:04the walls are not left rough they are
1:10:06covered with sculpted base reliefs and
1:10:08statues the angles are IL defined and
1:10:10the floors are not really
1:10:13[Music]
1:10:17flat but perhaps even more spectacular
1:10:19than this site is the allora
1:10:22[Music]
1:10:24site also Al located in the district of
1:10:27Maharashtra allora is a complex of 34
1:10:30Chambers carved out of the rock between
1:10:32the 6th and the 10th centuries or 12
1:10:34according to sources over a total
1:10:36distance of almost 2
1:10:40km here again the term cave is neither
1:10:43very representative nor very rewarding
1:10:46as the chambers are sometimes immense on
1:10:48several levels
1:10:50[Music]
1:10:5612 of them are Buddhist 17 Hindu and
1:11:00five
1:11:01[Music]
1:11:07Jan as in aanta each is an architectural
1:11:10Masterpiece with multiple sculptures and
1:11:13bass reliefs covering the walls
1:11:19[Music]
1:11:32the most famous construction on this
1:11:34site is called cave number 16 although
1:11:37it's a temple it's not just any Temple
1:11:39the entire rock face has been sculpted
1:11:41to resemble Mount kalash the Legendary
1:11:44home of Shiva the temple features
1:11:46galleries columns shrines and intricate
1:11:48carvings on several levels bear in mind
1:11:51that it was entirely carved from a
1:11:53single block no statue or elements were
1:11:56added everything was thought out layer
1:11:58by layer staircases levels columns and
1:12:02[Music]
1:12:04statues considered the largest
1:12:06monolithic structure in the world its
1:12:08size is estimated to be twice that of
1:12:10the Parthenon in
1:12:12[Music]
1:12:23Greece but remarkable and gantic as it
1:12:25is the work accomplished only pleases
1:12:28the eye as the companions say as the
1:12:30Precision does not go beyond what is
1:12:32visually
1:12:35sufficient for when you take out a
1:12:36simple Rangefinder you quickly realize
1:12:39that no column fo is precisely aligned
1:12:41with its
1:12:42neighbor but why should they that's the
1:12:49question with barabar nagaj Juni we're
1:12:52faced with two major questions one how
1:12:54are they achieved at this level of
1:12:56precision and two why did they need to
1:13:05be there is a great dissonance between
1:13:07the stonem Mason's analysis of the work
1:13:10and what has been historically said
1:13:11about how these Chambers were
1:13:17made notably by indologist Huntington
1:13:21following his rigorous observation work
1:13:22in Lomas
1:13:23Rishi the the chamber is crucial to our
1:13:26understanding of the case and we're
1:13:28going to look at it from the
1:13:29investigator's point of
1:13:32view first of all let's take a look at
1:13:34the Historical
1:13:41opinions for Cunningham and Fleet the
1:13:43porch is a late edition after the Moria
1:13:46Dynasty and a shoker inscription may
1:13:48have existed and been erased when the
1:13:50porch was
1:13:52built according to Ferguson the porch in
1:13:54chamber were built at the same
1:13:57time according to stern and or the porch
1:14:00is a late edition around 200 years after
1:14:02the chambers were
1:14:04built for Huntington lus Rishi was
1:14:06barbar's last after sudama Karan choa
1:14:10and viz vopi and work was halted when a
1:14:12shoker died for lack of funding in his
1:14:15opinion the porch and chamber were built
1:14:17at the same
1:14:19time for Gupta it would have nothing to
1:14:22do with a shoker and dashara because it
1:14:24has no descriptions from them because
1:14:26being the only one of all the Moran
1:14:28Chambers to have no original shape
1:14:30because it's unfinished and because its
1:14:32porch would be in Buddhist style he
1:14:34believes it was carved long after
1:14:36barabar and nagaj Juni and finally Harry
1:14:39FAL agrees with Huntington and Ferguson
1:14:41for him the porch and the Chamber were
1:14:43built at the same time and the porch
1:14:45would not be Buddhist in the face of
1:14:47differing opinions we're
1:14:49confused it's important to note however
1:14:52that it is from this chamber that the
1:14:54tools and methods for creating all other
1:14:56Chambers were
1:14:57derived let's turn to the
1:15:00field lash Rishi is the only one with a
1:15:03porch and curved outer frame it's the
1:15:05only one without an original shape
1:15:08either it's the first of all and sudama
1:15:10is a copy or it's the other way
1:15:12around the major difference between the
1:15:15two geometries being the position of the
1:15:16entrance
1:15:18[Music]
1:15:21passage its walls are surprisingly
1:15:23polished while the rest of the building
1:15:25is still
1:15:30rough the state of progress in this cave
1:15:32is disconcerting surprising all the
1:15:35rough work has to be done before
1:15:37polishing can begin this polishing of
1:15:40the walls is an
1:15:42aberation here it's obvious the Moto's
1:15:44oper is inconsistent starts everywhere
1:15:46and ends
1:15:49nowhere same here I find it hard to
1:15:51understand it doesn't make it impossible
1:15:53it just makes it more complicated
1:15:55we finish the whole shape and then
1:15:56polish it all in one go there are key
1:15:58stages in the production chain you can't
1:16:00finish one and then start another no
1:16:03everything has to be done at the same
1:16:04time it's just not logical you can't do
1:16:08the finishing touches until you've
1:16:09mastered the rest you get the impression
1:16:12that they had to exploit a chamber that
1:16:14had been made and then not finished but
1:16:16those who wanted to finish didn't
1:16:18understand or I don't know honestly I
1:16:19can't say why but in any case it's not
1:16:21the logic of the rest of the chambers
1:16:24[Music]
1:16:28Indian stone masons traditionally start
1:16:30with the ceiling but this time it's the
1:16:32other way
1:16:33around in sudama's dome by playing with
1:16:36the light we can observe the Spectra of
1:16:38two circles more clearly visible on the
1:16:40scans here we see the first Circle then
1:16:42a second one inside and when you look at
1:16:44the centers of each of these circles
1:16:47they're all exactly
1:16:49aligned this suggests that the use of a
1:16:51mechanical device to carve out the Dome
1:16:53a technique that is no to be seen in the
1:16:55low mass Rishi
1:16:59Dome pick blows are also too close to
1:17:02the final shape of the ceiling and if
1:17:05too much digging is done it can create
1:17:06holes which can be seen on
1:17:10site and finally on the outer wall of
1:17:13this chamber Clues reinforce the idea of
1:17:16two periods of different size and
1:17:18technique these grooves circled in red
1:17:21in this
1:17:22image well known to stonemasons these
1:17:25grooves are the marks of sharp of
1:17:27sharpened chisel blades rubbed against
1:17:29[Music]
1:17:33granite a few can be seen outside
1:17:37sudama curiously however there are no
1:17:39such marks on the outer wall of Karan
1:17:41choa or Vivi nor on the outside of gapa
1:17:45vka and vapa showing that the Stone
1:17:47Cutters did not proced in this way so
1:17:50why the sud a facade most probably
1:17:53because this niche later added and
1:17:57unfinished the difficulty is the lack of
1:17:59archaeological
1:18:01documentation because it's clear that
1:18:03there are GS the inscriptions the
1:18:05entrance
1:18:07Port I have my gouts as to whether they
1:18:09were really contemporary with the
1:18:11excavation of the caves as for the
1:18:13king's inscriptions well does it
1:18:16correspond to the same date as this
1:18:18there's nothing to prove
1:18:20it but
1:18:22sometimes you just have to say you don't
1:18:27[Music]
1:18:37know to challenge these observations we
1:18:40invited Eric berar to visit like
1:18:44geologist Eric Gontier before him he
1:18:46first noticed the difference in
1:18:47workmanship between the porch and the
1:18:49interior of the finished
1:18:51Chambers there's nothing ight
1:18:56the shape was requested and the guy
1:18:59executed it in a hurry the edges here
1:19:03you also have a relatively well adjusted
1:19:06curve a kind of
1:19:08aive and you don't have any bottom Edge
1:19:11cut
1:19:13correctly it's out of question to
1:19:16imagine that the team that even started
1:19:18the work inside this one could have had
1:19:21anything to do with its execution it's
1:19:24completely
1:19:25[Music]
1:19:28anistic it's clear that the team had
1:19:30lost its
1:19:31geometry in other words it's been
1:19:35butchered everywhere they were looking
1:19:37for like reference points and in the end
1:19:40it's it's been abandoned because the
1:19:43team couldn't complete the work that's
1:19:45been done elsewhere it's
1:19:50obvious one detail we hadn't paid much
1:19:52attention to caught his eye
1:19:56the small wall at the bottom is
1:19:58partially polished while the upper part
1:20:00has not yet been
1:20:02dressed this will generate what the
1:20:04Cutters call a spectrum I.E an imprint
1:20:07that will show up in the
1:20:08light it's physical in the stone you can
1:20:12feel it because reworking the surface
1:20:15always leaves
1:20:17traces however there are no such marks
1:20:19on the small walls of the other Chambers
1:20:21which means that they are not made in
1:20:23this way
1:20:25the same applies to The Unfinished floor
1:20:28which would have required the entire
1:20:29bottom of the polished walls to be
1:20:34reworked let's recap in this chamber The
1:20:38Cutting and polishing operations are
1:20:39carried out in an illogical sequence and
1:20:42the tool Strokes demonstrate a lack of
1:20:44method and rigor the quality of the work
1:20:46on the porch is not the same as inside
1:20:48the
1:20:49chambers there are no sharpening grooves
1:20:51on the chamber fronts with the exception
1:20:53of the only Chambers with with
1:20:54unfinished elements suda and lus
1:20:58Rishi if lus Rishi is the first of the
1:21:01chambers and if the porch was built at
1:21:03the same time as the interior this
1:21:05should have been the blueprint for all
1:21:07of
1:21:08[Music]
1:21:09them in that case why don't sudama and
1:21:13Karan chopper next door unfinished have
1:21:18porches but if as some indologists
1:21:21believe the porch was added later then
1:21:23it should be visible to the eye turns
1:21:26out that it
1:21:28is it's very easy for any Stow Mason to
1:21:32put his hand
1:21:33here you can see that the surface you
1:21:36have here is practically to the touch
1:21:39identical to the other
1:21:41Chambers I.E with precision and when you
1:21:45slide over a ridge that's over here the
1:21:47stun Mason who took over this surface
1:21:51and executed the porch found himself
1:21:53carving
1:21:55really
1:21:58awkwardly it's clear that there's an
1:22:01inconsistency of control and so we find
1:22:03it here all this part here is recessed
1:22:06or badly polished or badly cut and then
1:22:11back to the porch here again there are
1:22:13huge cavities on a surface of 40 cm
1:22:17there's a depression of almost a
1:22:20centimeter any stone Mason who comes
1:22:23here to look at the surface will tell
1:22:24you that there's a problem and a problem
1:22:28of with the workmanship and a problem
1:22:30with the workmanship between this part
1:22:32and the rest is really
1:22:38obvious whoever car this porch obviously
1:22:41had the intention to complete the
1:22:43interior the tool marks we see inside
1:22:46clearly come from the porch Builders and
1:22:48therefore can't shed any light on how
1:22:50the other Chambers were
1:22:53built either this porch dates back to
1:22:55the Ashoka period or it was added much
1:22:58later but if it dates from the Ashoka
1:23:00period then the other Chambers are much
1:23:02older and had long since been completed
1:23:04by the time they were gifted to the Aika
1:23:07people that would explain why their true
1:23:09function had already been
1:23:11forgotten I agree with you that the
1:23:16original idea has disappeared given the
1:23:20complexity of the work presented by
1:23:21these Chambers it's difficult to believe
1:23:23that their original purpose was simply
1:23:25for shelter unless of course you've
1:23:27inherited them and are unaware of the
1:23:29complex work they
1:23:31[Music]
1:23:37entail a month after our visit to
1:23:39barabar we went back to see Eric
1:23:44Bernard the biggest problem in this case
1:23:47is the one who imagine the shape and
1:23:49said well I demand that and I'm going to
1:23:53find a team who's going to produce it
1:23:54for me even now in research labs and
1:23:58production Labs it's a colossal task to
1:24:01bring these two worlds
1:24:04together it's been done here without any
1:24:09precedent the requirement for geometry
1:24:11has a
1:24:13reason we have no references in the west
1:24:17of an example like this
1:24:19type monolithic and cut like this in
1:24:25go and moreover in a cavity what was the
1:24:29state of play in terms of the tools and
1:24:33methods rough work can be done very
1:24:36quickly I mean if you're vigorous and
1:24:39fit and have the right technique you can
1:24:41do a great
1:24:42job afterwards it's this finishing
1:24:46approach because on top of that you're
1:24:48in the dark with candles and Lighting
1:24:51systems that are
1:24:52completely so afterwards there's a time
1:24:55a timing that you can't control at all
1:24:58so I looked around looking for mistakes
1:25:00of course on site I saw flashes I saw
1:25:03the size Spectra that come out so that
1:25:06reassured me a little in a way to say to
1:25:08myself yeah these are colleagues of mine
1:25:10who have done this but all the
1:25:13same what can we compare the work in the
1:25:16chambers
1:25:18to the only reference in the archive is
1:25:21this pedestal that was cut to house the
1:25:23Lu Obelisk at
1:25:28Concord and this artifact is the only
1:25:30reference we have in terms of volume of
1:25:32shape I 16 cubic
1:25:35MERS I 40 tons of gramatic rock quite
1:25:39similar to barar but obviously Quarry
1:25:42cut are you taken from quaries
1:25:45Etc the Obelisk was made of
1:25:49granite we know very well that at the
1:25:51time in 1836 that they were still using
1:25:53tools and techniques from the dawn of
1:25:58time since we were on site we decided to
1:26:01use the roughness tester on this
1:26:02perfectly documented base the first RZ
1:26:06of 60
1:26:07microns the second of
1:26:1047 and third
1:26:1225 a far cry from the measurements
1:26:15recorded at barabar bearing in mind that
1:26:17this object was not polished vertically
1:26:19but horizontally in the direction of
1:26:21gravity which is absolutely uncomparable
1:26:25a detail that will probably speak to
1:26:26Engineers here is the difference in the
1:26:28angle of inclination between the large
1:26:30and small
1:26:31walls why this change in angle and why
1:26:3588.5 de 1 and 1/ 12° from vertical which
1:26:39is hardly visible to the naked
1:26:42eye it's 10 times more difficult to keep
1:26:45to that angle than on a well
1:26:50controlled a seemingly insignificant
1:26:53detail but one that must must have been
1:26:54important since it's a feature repeated
1:26:57from one chamber to the next and in
1:27:00symmetry it looks like a process of
1:27:03experimentation to improve shapes
1:27:05different angles for a specific purpose
1:27:08but
1:27:13what speaking of the Polish there are a
1:27:16few chips in the Polish of the finished
1:27:18Chambers as here at the bottom of the
1:27:20Cen Chopper wall we thought these were
1:27:22later markings but thinks they were
1:27:24weaknesses in the granite at the time of
1:27:28cutting the final polishing phase has
1:27:30been made without trying to fix or hide
1:27:33the natural flaws in the
1:27:35stone you can see that the Polish was
1:27:38added to an extremely rigorous and defin
1:27:41shape in terms of
1:27:44dimensions and afterwards you can see
1:27:47that this polish finish is not at all
1:27:49designed to be
1:27:52aesthetic not at all related to the need
1:27:54to be visually pleasing or anything else
1:27:57like that it's completely in my opinion
1:28:01to be
1:28:04forgotten a Polish more technical than
1:28:06aesthetic another stonemason confided to
1:28:09us that if these Chambers had been
1:28:11created with such precision and
1:28:12minimalism and were devoid of religious
1:28:15imagery or motifs of any kind it was a
1:28:17sign that the objects had a precise
1:28:20function the scans revealed another
1:28:22curiosity discovered by researcher cont
1:28:26Lia as all the entrance passages are at
1:28:3090° V's chamber has a corridor that's
1:28:33slightly off center I.E not on the same
1:28:35axis as a
1:28:37chamber this is the entrance Corridor
1:28:40here or there which when extended comes
1:28:43to tap vaka at
1:28:4890° and on top of that the axis of these
1:28:51two corridors indicates the north south
1:28:54and East West
1:28:56AIS for me these two caves were
1:28:58conceived as a whole and not as two
1:29:00independent
1:29:03things this means that they have tracing
1:29:05methods methods for transferring
1:29:07interior tracing to the outside which
1:29:09allow them with surveying systems that
1:29:11I'm not familiar with to transfer what's
1:29:13inside perfectly to the outside without
1:29:15any loss of
1:29:17geometry geometry is such a constraint
1:29:20you can't just leave it a chance this is
1:29:23Extreme
1:29:24important because when you're faced with
1:29:27a geometric volume that's extremely well
1:29:30mastered it's because there's an
1:29:31extremely complex or WellMed thought
1:29:37process it's not just a matter of guess
1:29:40work it's also quite amazing that
1:29:42they've made a link between the two
1:29:44caves in these huge
1:29:46rocks we're small I mean humanly
1:29:48speaking we're dealing with a major
1:29:51geological element
1:29:53here what's the point of this feature
1:29:55which can only be discovered with a 3D
1:29:57scan why position the corridor
1:29:59perpendicular to the long side of the
1:30:01other
1:30:02chamber why add this
1:30:08constraint let's take a look at the
1:30:10geometry of the chambers through on-site
1:30:12measurements Harry FAL determined the
1:30:14value of the measurement standard used
1:30:17which he called Moran yard or barabar
1:30:19yard to be around 85.5 CM thanks to the
1:30:23scans
1:30:24did the same work on his side and was
1:30:26able to refine this value we can see
1:30:29that there's a particular geometry that
1:30:30emerges proportions for example so if I
1:30:34have proportions of two units on the
1:30:35width and three on the length I can
1:30:38quite easily find a common denominator
1:30:40and it just so happens that this common
1:30:43denominator recurs on all five scans
1:30:45I've studied for some unknown reason
1:30:47this standard varies very precisely from
1:30:50chamber to chamber give or take a few
1:30:52millim on average what I find is
1:30:5585.4 the average value of a theoretical
1:30:58barbar yard which was used to size these
1:31:01Chambers because obviously we used a
1:31:03unit of measurement we saw how we
1:31:05positioned the corridor entrances we saw
1:31:07the modular aspect so there's obviously
1:31:10a unit of
1:31:11measurement this standard made it
1:31:13possible to understand the floor
1:31:14geometry of the
1:31:16chambers proportions here are very
1:31:18simple 2/3 two for width three for
1:31:21length and we have the proportions of
1:31:23the
1:31:24Chambers and those next door well it's
1:31:27exactly the same they're 2x3 proportions
1:31:31the resulting measurement is the same
1:31:34we're dealing with something that's
1:31:35clearly calibrated according to
1:31:37geometric and metrological
1:31:39criteria it's not something designed
1:31:42obviously for storing flour Sheltering
1:31:44from the rain but something much more
1:31:47carefully thought
1:31:48out we have a ratio of 5x2 with Karan
1:31:52Chopper and 3x7 with
1:31:54peer but let's move on to the volume of
1:31:56space in the chambers as the scans show
1:31:59them precisely allowing conto laa to
1:32:02notice an extraordinary feature they
1:32:04have volumes of space that have ratios
1:32:06in whole numbers 7 by8 with a Precision
1:32:09that is truly
1:32:10remarkable remember your math class from
1:32:13school if the volume of vka is seven
1:32:16then the volume of vapa is
1:32:20eight same thing with Puda if the volume
1:32:23of the Great Hall is 12 then the volume
1:32:25of the Dome is
1:32:28five a ratio of 12 to 5 already present
1:32:32in Karen Chopper's floor geometry whose
1:32:35volume is linked to that of gopa well
1:32:38here we have an even simpler 23 ratio if
1:32:41Karen Chopper's volume is two then
1:32:44gopa's is
1:32:46three and on top of that if I convert
1:32:48them these two caves into Marian yards
1:32:52and or barbar yards as you like the unit
1:32:55of measurement I deduced before well I
1:32:57end up with
1:32:592300 cubic yards of
1:33:02barbar 200 cubic yard and 300 cubic
1:33:05yards 200 and 300 precisely for volumes
1:33:09in a ratio of 2x3 which also makes it
1:33:12possible to deduce the value of the
1:33:14barabar yard from the
1:33:19volumes Skeptics May argue that these
1:33:22are just two of the five Chambers
1:33:24but the volume ratios of 7 over8 between
1:33:27vka and vapa and 52 between seda's Dome
1:33:31and its Great Hall show that the
1:33:33designers knew how to calculate the
1:33:35dimensions of all the chambers so that
1:33:37their volumes were related this is
1:33:40certainly not by
1:33:42chance this is impossible but if someone
1:33:46is capable of planning something and you
1:33:50cannot achieve 200 or 300 while you are
1:33:54while you are cutting out a cave you
1:33:56have to plan it beforehand that means
1:33:59you can plan and think in cubicle whole
1:34:03numbers and this is
1:34:06something U unthought of nobody ever
1:34:11thought of
1:34:12something that you could prove and
1:34:15everybody could go there nowadays with
1:34:17our modern machines and and and have the
1:34:20machine find out the cubicle content of
1:34:23Goa and then it comes out it's 300 times
1:34:27a cube of of morian
1:34:30yards remember how complex chamber
1:34:33shapes can be to find out the volumes
1:34:35without going through the scans you need
1:34:37to break each one down into sections of
1:34:39simple volumes calculate each portion of
1:34:42volume and then add them together but
1:34:44the problem facing barbar's designers is
1:34:46the opposite and far more complex it
1:34:49involves determining each of the
1:34:50dimensions of the chambers length width
1:34:53height height radius of Curves Etc so
1:34:56that the finished volumes add up to the
1:34:58expected numbers given the complexity of
1:35:00each chamber's geometry this goes far
1:35:02beyond the Pythagorean
1:35:08triangle not only does this confirm the
1:35:11use of the bar bar yard it also confirms
1:35:14the fact that we size these two Chambers
1:35:16with integer volume ratios and the
1:35:18Precision according to the data we have
1:35:21is 1 to, 1500
1:35:23so it's Ultra
1:35:25precise I don't see how we could do any
1:35:28better and of course you have to master
1:35:31the number Pi with many
1:35:33decimals because if you want to make
1:35:35calculations with all the cones
1:35:37cylinders and spheres there are you just
1:35:40can't play with approximate fractions of
1:35:43the number Pi you have to know it very
1:35:46very well the design and dimensioning of
1:35:49these geometries involve complex
1:35:51equations demonstrating a mathematical
1:35:53level that was totally beyond the
1:35:55supposed capabilities of the time so I
1:35:58think what you have found out here is
1:36:01breathtaking and it's Unique
1:36:03unbelievable it shows that the
1:36:07geometrist working maybe hand in glove
1:36:10with the Iranian Stone Cutters that they
1:36:13could uh introduce their
1:36:16knowledge um and they did so and at the
1:36:20same time they they knew that nobody
1:36:23entering these caves will see these
1:36:26whole numbers they are
1:36:29inside a
1:36:31construction produced from whole numbers
1:36:34but you don't see that you're inside of
1:36:37it these Chambers were then made without
1:36:40any possible latitude anticipating what
1:36:43each cutting step would remove until the
1:36:45final polish was achieved as the
1:36:48stonemasons told us loud and clear we
1:36:50need to add to this high level of
1:36:52mathematics an except itional Mastery of
1:36:54execution which can only be acquired
1:36:56following a long period of
1:36:58apprenticeship the problem is it's
1:37:00nowhere to be seen that's why the scans
1:37:02change everything and why we need to get
1:37:05away from the preconceptions of History
1:37:07to understand these
1:37:10Chambers the shape of the chamber
1:37:12entrances also raised
1:37:14[Music]
1:37:17questions in aanta and aora we didn't
1:37:19see any trapez odal doors as this is not
1:37:22a typical Indian in shape in his book
1:37:25dedicated to barabar echoing Huntington
1:37:27indologist Gupta evokes a similarity
1:37:29with Egyptian door frames also trapez
1:37:32odal which he immediately dismisses on
1:37:34the grounds that the dating would not
1:37:35match but the dating of the chambers is
1:37:38by no means
1:37:40certain during the shoot of our previous
1:37:43film we also saw this type of trapez
1:37:45odal entrance in Peru on very precisely
1:37:47executed constructions as here at
1:37:50coricancha in Koso
1:37:53ironically polished Granite surfaces can
1:37:55be found in Egypt almost as precisely as
1:37:58in barabar in the mysterious Vats of the
1:38:00Sakara serapia they too have been dated
1:38:03on the basis of questionable
1:38:06inscriptions what if we were to find
1:38:07ourselves in the footsteps of the same
1:38:11Builders because we noticed something
1:38:13else this time on the suda chamber the
1:38:16most complex of all a surveyor takes
1:38:19measurements as objectively as possible
1:38:22using equipment whose technical
1:38:23characteristics he knows including those
1:38:26famous uncertainties and then at the end
1:38:29of the day we come and see what we've
1:38:31measured and what do we find when we
1:38:33measure the object as we've assembled it
1:38:36it's actually 11 M long for the chamber
1:38:39after that it's
1:38:4111.8 M but you can go down to
1:38:4411.4 M or 11.11 M for me it's all the
1:38:51same 5.96 m M for the width we have a
1:38:55sphere here with a radius of 3
1:38:59m a
1:39:01center 1 m above the ground we've got a
1:39:05cone
1:39:06here a cone here and then the volt walls
1:39:10here which are exactly 2 m the voltage
1:39:13ceiling here here also has a radius of
1:39:163.03 M and A Z center of the main
1:39:19cylinder 1.02 m above the ground that's
1:39:22it so 11 M 6 2 1 M we're just stating
1:39:27the facts as factually as
1:39:29possible I take one point I take several
1:39:32of these points and that's what we get
1:39:35so the observation is that here we find
1:39:37metric values once or twice or three or
1:39:39four times four times put on 3D volumes
1:39:42on a regularity on a total length on a
1:39:46punctual point it's quite a remarkable
1:39:49thing quite interesting to note
1:39:53simple observation but a confusing one
1:39:55since the meter was established in
1:39:57France in 1795 It seems impossible that
1:40:00these Dimensions could have been thought
1:40:01of and measured in meters and yet with
1:40:03sudar we find whole measurements only in
1:40:06meters we don't find this when measuring
1:40:08in the barar yard it's true that we
1:40:11often come across the meter when we're
1:40:13measuring it's highly likely that the
1:40:16designer thought things through with the
1:40:18meter and the barar
1:40:20yard in the previous film we observed
1:40:23the meter at various major ancient sites
1:40:25around the world in Bolivia in Egypt in
1:40:29France and now in barabar this poses an
1:40:33obvious historical problem since
1:40:35calculating the meter implies you've
1:40:36been able to accurately measure the
1:40:38Earth's circumference and having it
1:40:40divided into 40
1:40:42million but perhaps We've Just
1:40:44rediscovered what they've already
1:40:47calculated the Royal Cubit used in the
1:40:49Great Pyramid is linked to the meter by
1:40:51a circle 1 m in diameter
1:40:53the circumference of which is equal to 6
1:40:55* the Cubit which is considered a
1:40:58coincidence when choosing the meter in
1:41:011795 but in barabar there also seems to
1:41:03be a geometric link between the meter
1:41:05and the
1:41:07yard if I say that the barar yard is a
1:41:10circle of one yard in diameter the
1:41:12perimeter if I divide it into six as I
1:41:15did for the Royal Cubit what emerges is
1:41:18a cubit of 4472 cm and this Cubit of
1:41:2244.7 to if I make it into a double
1:41:25square the diagonal it's a meter the
1:41:28design of the barar chambers is all
1:41:30about circles and right angles and
1:41:31square figures generally speaking when
1:41:34we design things we use compasses and
1:41:36squares their work uses as kind of
1:41:39geometry so it's possible that we've
1:41:41deployed both measurements in a single
1:41:45piece not only did the skills come from
1:41:47somewhere but it feels like the
1:41:49specification of the chambers which hold
1:41:51up to Modern industrial standards s have
1:41:54an objective reason and a specific
1:41:56purpose but which one it all depends on
1:41:59how we look at
1:42:02them if they had been made by Engineers
1:42:04from the future we'd think there must be
1:42:06something important to discover in their
1:42:08operation something we don't know yet
1:42:11information encoded because the future
1:42:13equals
1:42:15progress but they come from the past
1:42:18with history telling us that our
1:42:19ancestors were drastically less
1:42:21technologically advanced
1:42:23so how else could they be anything other
1:42:25than curious looking shelters from the
1:42:27rain as we are certain ancient
1:42:29civilizations were always less
1:42:31technologically
1:42:34advanced according to our current
1:42:36knowledge human beings like you and me
1:42:38have existed for at least
1:42:40230,000 years 230,000 years is an
1:42:43incredibly long time we would have
1:42:45remained hunter gatherers for around
1:42:48220,000 years during which time we would
1:42:50have roam the planet on foot to
1:42:52establish ourselves almost everywhere
1:42:54and human civilization would have taken
1:42:56off only a few thousand years ago for a
1:42:58long time we thought it was Suma around
1:43:006,000 years ago then we discovered gbec
1:43:03teepe in Turkey which puts the date back
1:43:05at least 7,000
1:43:06years but there are still many Mysteries
1:43:09to our past as in Egypt where history no
1:43:12longer even remembers how the Pyramids
1:43:14of Giza were built at least a few
1:43:16Millennia ago no big deal compared to
1:43:18the
1:43:19230,000 year history of our Humanity the
1:43:22Egyptians have written written
1:43:23extensively on all sorts of subjects but
1:43:25apparently nothing on the construction
1:43:27of the pyramids nor the function of them
1:43:30which today are only considered as
1:43:32ferary
1:43:33tombs either nothing was ever written or
1:43:36it was erased by their successors
1:43:38history has always been written by the
1:43:40winners the Kings Emperors and dictators
1:43:43who over the centuries have dismissed
1:43:45their predecessors each time rewriting
1:43:48the past to put themselves in the best
1:43:50light there are numerous examples the
1:43:53nandor man a prehistoric apan
1:43:56rehabilitated by recent discoveries the
1:43:58Galls a coarse and barbaric people
1:44:01according to the Roman propaganda until
1:44:03recently and finally the Greeks and
1:44:05their surprising skills which enabled
1:44:07them to create the antia Thea
1:44:10mechanism so history Isn't false but
1:44:13just partial and relying on it blindly
1:44:17dangerous as far as barabar and nagaj
1:44:20Juni are concerned history doesn't tell
1:44:22us anything either no one has been
1:44:24bothered to record how the chambers were
1:44:25made and what they were really used for
1:44:28or it's been lost or
1:44:31destroyed the name Aika was scratched
1:44:34out on the inscriptions but fortunately
1:44:36not
1:44:37completely why scratch out these
1:44:39inscriptions if not to try and make this
1:44:41mention
1:44:43disappear history also failed to
1:44:45remember a shoker nicknamed Ashoka the
1:44:48great he was an important King and
1:44:50founder of Indian history without whom
1:44:52Buddhism probably would have disappeared
1:44:54but he was forgotten for almost 2,000
1:44:56years before being rediscovered just two
1:44:58centuries ago thanks to his
1:45:00pillars anything that isn't based on
1:45:02proof I.E an indisputable fact is just
1:45:05another belief continuing this thought
1:45:08anything that isn't or hasn't been
1:45:09proven is therefore always open to
1:45:11question and could potentially be called
1:45:13into question we have to consider
1:45:16everything because we don't know the
1:45:19question is will we ever come to u a
1:45:22conclus tion that holds water practicing
1:45:26decart's art of the Clean Slate means
1:45:28not rejecting a hypothesis that you
1:45:29believe to be
1:45:31impossible difficult in reality because
1:45:33we are all absolutely all influenced by
1:45:35our beliefs and not just in the
1:45:37religious
1:45:40world the belief for example that
1:45:43Although our human history may contain a
1:45:44few gaps or gray areas nothing could
1:45:47fundamentally call into question the
1:45:48linear Narrative of the historical
1:45:51timeline the belief that the direct
1:45:53ction of progress is linear from the
1:45:54wheel to smartphones and there couldn't
1:45:56be any other
1:45:58way the belief that the chambers at
1:46:01barabar and maguni have nothing useful
1:46:03to teach us the modern inventors of
1:46:05satellites and artificial
1:46:11intelligence yet these Chambers appear
1:46:13totally out of place and seem to have a
1:46:15more technical purpose than an artistic
1:46:17or religious one wiping the Slate clean
1:46:20means accepting that our history may
1:46:22indeed have forgotten part of our past
1:46:25and being open to considering this
1:46:34[Music]
1:46:44[Music]
1:47:02today as in the past no one is going to
1:47:05go to such great colossal lengths to
1:47:07achieve such precise results if you
1:47:09don't need
1:47:10[Music]
1:47:12to when you really get down to the
1:47:15nitty-gritty of the analysis something
1:47:17else
1:47:18emerges another philosophy another will
1:47:23[Music]
1:47:24for me it's obvious it's obviously a
1:47:28scientific
1:47:29object such an exceptional object of
1:47:33measurement that the reason for these
1:47:35objects must have a scientific use it
1:47:38can only be that well it has been
1:47:41observed by by several uh Scholars that
1:47:46the sound inside such a cap is uh
1:47:52increasing if you say something U the
1:47:56sound
1:47:57accelerates and it would be impossible I
1:48:01think that people meet inside these
1:48:03caves and talk to each
1:48:06other so if on top of that there's
1:48:08another feature which is sound which
1:48:12maybe is after all what they were
1:48:13looking for it may explain the sloping
1:48:16walls it may explain the vaulted
1:48:18ceilings made with three different
1:48:20radiances
1:48:23the miror like polish in fact favor
1:48:26propagation reverberation so it would
1:48:29justify this shape and why we went for a
1:48:31mirror polish in these
1:48:33caves we could have stopped at the
1:48:34previous stage since we'd already
1:48:36mastered the
1:48:42geometry since the chambers are carved
1:48:44out of the mass the vaed ceilings have
1:48:47no structural purpose and could have had
1:48:49any shape
1:48:51[Music]
1:48:56when you enter these dark Chambers the
1:48:58interaction of sound with their geometry
1:49:00is immediately apparent producing
1:49:02impressive effects that are difficult to
1:49:04reproduce with
1:49:19microphones the most remarkable thing
1:49:21about these Chambers is the combination
1:49:23of resonance and reverberation as we've
1:49:26just heard with the voice of
1:49:28tritto reverberation time is the time it
1:49:31takes for the sound to Decay after the
1:49:33source has been Switched
1:49:39Off acoustic resonances on the other
1:49:41hand correspond to the specific
1:49:43frequencies at which sound is
1:49:46Amplified the low absorption rate of
1:49:48granite and the geometry of the walls
1:49:50produce different effects between low
1:49:52and high
1:49:55frequencies but are these effects in the
1:49:57chambers unintended consequences due to
1:49:59their geometries or are they
1:50:01intentionally
1:50:03[Music]
1:50:06designed since we discovered them we've
1:50:08been experimenting and
1:50:10[Music]
1:50:14recording in May 2017 at the same time
1:50:18as the scans we recorded calibrated
1:50:20balloon explosions and fre variations
1:50:23across the entire Spectrum audible to
1:50:26humans to understand their
1:50:29[Music]
1:50:38Acoustics we then had the data analyzed
1:50:40but the instruments were not precise
1:50:42enough so we returned to the site in
1:50:44March 2020 with very precise measurement
1:50:47protocol two sound level meters a
1:50:50recorder and balloons
1:50:52[Music]
1:50:54we recorded around 100 explosions in the
1:50:56chambers with our sound level
1:51:03[Music]
1:51:08meters we then had all the new data
1:51:10analyzed by several
1:51:13[Music]
1:51:14acousticians for the record through a
1:51:17numerical calculation one of the reports
1:51:19concludes that a 74.9 HZ a mission
1:51:23Source placed on the ground in the
1:51:24middle of the sudama Dome would produce
1:51:27a sound that would be highly Amplified
1:51:29around it this is what we had
1:51:30accidentally experimented with in 2020
1:51:33by broadcasting a frequency of 75 Herz
1:51:36with our small speaker placed on the
1:51:37floor in the center of the Dome
1:51:58in Practical terms our speaker
1:52:01[Music]
1:52:03blue this happened again when we
1:52:05returned in March 2023 to check some
1:52:08data and make new recordings
1:52:11[Music]
1:52:27and here's what we
1:52:29found these Chambers are a very special
1:52:32case as they combine a number of
1:52:34features not currently looked for by
1:52:36modern
1:52:37acousticians first and foremost they
1:52:40make speech unintelligible it becomes
1:52:42inaudible when you're more than 50 cm
1:52:44from The Source in other words they're
1:52:47not made for listening to preaching or
1:52:49speaking
1:53:02[Music]
1:53:06they combine both reverberation and
1:53:08resonance
1:53:17[Music]
1:53:26low frequency reverberation times are
1:53:29very high by way of comparison in nraam
1:53:32low frequency reverberation lasts
1:53:34between 10 and 12 seconds while in the
1:53:36sudama doome it reaches 62 seconds and
1:53:39in valtia 70
1:53:47seconds for around 100 years
1:53:49acousticians have been building
1:53:51reverberation Chambers to measure an
1:53:53object's absorption I.E the acoustic
1:53:55energy it will retain if the
1:53:57reverberation lasts up to 15 seconds
1:54:00they generally neutralize the resonance
1:54:04effect but in barabar and nagaj Juni
1:54:07resonances are also very pronounced
1:54:10meaning that certain frequencies are
1:54:11Amplified and heard much louder
1:54:23these exceptional reverberation
1:54:25measurements verify the specific shape
1:54:27of these Chambers do produce a function
1:54:30according to the acousticians who
1:54:32confirmed our suspicion they are due to
1:54:34the granite's low absorption rate but
1:54:36also to the Polish the inclination of
1:54:38the walls and the symmetries of the
1:54:40chamber's shape because polish surfaces
1:54:43increase the reverberation of very high
1:54:46frequencies symmetries enhance low
1:54:48frequencies through the presence of
1:54:50strong resonances the inclination of the
1:54:52walls neutralizes the floating Echo
1:54:55effect and seems to play with focusing
1:54:57I.E the concentration of sound in
1:54:59particular places this is also the case
1:55:01with the Ved ceilings some experiments
1:55:04show an extremely interesting focal
1:55:06return between 70 and 80 cm in height at
1:55:10Kapa where sensory perceptions could be
1:55:12maximized in a seated position but our
1:55:15research is still
1:55:17ongoing although we can clearly see that
1:55:20they intentionally design the geometry
1:55:22of the chambers to get specific volumes
1:55:24of the space we have not yet been able
1:55:26to confirm any acoustic intentionality
1:55:29in the designs of the
1:55:30chambers but that doesn't mean that
1:55:32there aren't any because acousticians
1:55:34were struck by a detail vapa gopa and
1:55:38Karan chopa each resonate at a natural
1:55:40frequency of 34.4 Herz precisely
1:55:43measured from the balloon burst of
1:55:502020 in sudama we find 34.5 Herz just
1:55:540.1 Herz
1:55:56apart temperature influences the
1:55:58measurements and as we're not sure of
1:56:00sudama's temperature at the time of our
1:56:02recordings we're only going to include
1:56:04the first three vaka gopa and Karan
1:56:08Chopper given the scarcity of resonance
1:56:10frequencies below 50 HZ for each of the
1:56:13chambers and their vast differences in
1:56:15size and shape it's remarkable to find
1:56:17three of them share the same natural
1:56:20frequency this strongly suggest the
1:56:23builders did this
1:56:24intentionally if this is the case it
1:56:26adds yet another level of complexity to
1:56:28their ability to calculate volumes of
1:56:30space as it would mean that they would
1:56:32have been able to anticipate the
1:56:34frequencies produced by the
1:56:38geometries sound has always played a
1:56:40central role in the founding myths and
1:56:42sacred narratives of the world's many
1:56:44spiritual
1:56:45Traditions one of the acousticians
1:56:47pointed out that the effect of using
1:56:49reverberant Chambers on meditation and
1:56:51spiritual chanting is well known but if
1:56:54the effect is known the chambers of
1:56:56barabar and nagaj Juni seem quite lonely
1:56:59these phenomenal pieces of architecture
1:57:01were totally misunderstood by following
1:57:03Generations who relegated them as simple
1:57:05shelters from the
1:57:09rain yet everything about them testifies
1:57:12to a long process of technical ability
1:57:15unless you believe in miracles these
1:57:17Chambers can't spring from nowhere and
1:57:19be unique in the world there must be
1:57:21others elsewhere
1:57:24where if frequencies do play a role in
1:57:26these Chambers would it be more felt
1:57:28than
1:57:29heard could it be used to interact with
1:57:32the human body through a combination of
1:57:34geometries and frequencies in relation
1:57:36to the person and perhaps their
1:57:42Consciousness music can be relaxing
1:57:45uplifting emotionally arousing or down
1:57:47to
1:57:47Earth but sound waves can also heal as
1:57:51modern medical research Arch explores
1:57:53through the destruction of tumors by
1:57:54impacting precise
1:57:56[Music]
1:57:59areas songs can also induce Altered
1:58:02States Of Consciousness I.E a different
1:58:04perception of reality which are Elders
1:58:07all over the planet seem to know so
1:58:12well if it's possible to induce Altered
1:58:14States Of Consciousness to the sound of
1:58:16a drum in a forest what impact could
1:58:19these complex geometries might have on
1:58:20this phenomenon
1:58:27why did our distant ancestors one day
1:58:29build these unrivaled
1:58:33masterpieces why such complex
1:58:35symmetrical geometric
1:58:38shapes why these specifications that
1:58:41hold up to actual industry
1:58:44standards why such Precision visible
1:58:47only when scanned with modern
1:58:50technology how how did they manage to
1:58:52create these Chambers with such
1:58:54exceptional
1:58:55[Music]
1:58:57Mastery where did they come from what
1:59:00were they used for what was their
1:59:07science after years of exploration and
1:59:10reflection it's clear to us that this
1:59:12colossal undertaking had a precise
1:59:14important
1:59:15purpose so important that its Builders
1:59:18had accomplished the impossible to
1:59:20create these Chambers so strange in
1:59:22their design and yet looking so
1:59:26[Music]
1:59:31futuristic too simple in appearance too
1:59:34complex in reality we believe they
1:59:36embody the expression of a thought and
1:59:39science different from our own through
1:59:41the apparent Simplicity of its
1:59:44genius a thought that could be from
1:59:46tomorrow's
1:59:48Humanity an entire universe could open
1:59:51up to
1:59:52exploration maybe the very one the
1:59:54Builders of barabar were tapping
1:59:57into perhaps in these troubled times
2:00:00this is what this place is trying to
2:00:01tell us not only who we were but also
2:00:05who we can be extraordinary
2:00:08Builders capable of the worst as well as
2:00:11the best
2:00:15[Music]
2:00:25okay
2:00:42[Applause]
2:00:50okay woo
2:00:59Mark good for
2:01:50woof for

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