This could explain how many things were done in ancient times.

I knew it wasn’t a steady-handed guy with a toothpick sized chisel

Euh non juste qu’ils n’avaient pas le même rapport au temps que nous , et avaient aussi un sens du sacrifice , et un rapport à la vie bien différent de nous . Il trouvaient leur supériorité dans leurs esprits

I saw some laser stuff some time ago that made me think this as well. Especially in regard to pristine 21st century level flat surfaces.

It's a solid hypothesis.

No. That's a modern way. Old way used skill sets

Africans carved with ordinary hands. The original people

Yesss 💯

what information should be engraved onto stone slabs like this so civilization can be rebuilt if something happens 🤔

Do say Kingfish. And how dat be?

So could this... what's your point?

fallen angel technology

Frequency, vibration can built Incredible things

Yup

3d printing in ancient times

Makes total sense 👏 that is FALLEN ANGEL TECHNOLOGY !

👀

Rất ít người có thể thức tỉnh, thuyết âm mưu về việc nhân bản con người sau đại sự kiện đặt lại toàn cầu có thể là thật, người nhân bản họ khó có được ý thức độc lập

Maybe.

Dope

Explains nothing but Hollywood imagination and AI computer grafix. Right!?

the third eye of shiva can cut anything

Hey Super, build an Ancient Techniques Atelier where visitors grind pigments, bind them with period-appropriate mediums, and paint on papyrus to discover the real chemistry behind ancient masterpieces. The first viewport opens on a lit grinding station: six brass bowls holding Egyptian blue, cinnabar, malachite, yellow ochre, bone black, and lead white, with a rough papyrus canvas to the right. The visitor immediately clicks a pigment bowl, sees the mortar-and-pestle animation reduce the lump to fine powder, then drags the brush across the canvas leaving a textured stroke of authentic ancient color — within ten seconds they have painted with a 5,000-year-old recipe and a chemistry tooltip has appeared naming the pigment, its chemical formula, era, and source. Pin PixiJS v8 as the source-native 2D rendering engine because layered pigment grain, translucent washes, and brass-bowl specular highlights demand a real GPU canvas rather than DOM elements, SVG, or Canvas2D. The representative input is { pigments: ['egyptian_blue', 'cinnabar', 'yellow_ochre'], binder: 'egg_tempera', strokes: [{x:140,y:90,color:'egyptian_blue',radius:14},{x:220,y:160,color:'cinnabar',radius:10},{x:310,y:200,color:'yellow_ochre',radius:12}] } and the expected result is a painted papyrus canvas with three colored zones — lapis sky, red sun, ochre ground — plus a tooltip chain revealing Egyptian blue (calcium copper silicate) was the first synthetic pigment fired near 1200°C, cinnabar (mercury sulfide) was traded across the Roman world despite toxicity, and yellow ochre was the most accessible pigment from clay deposits. Edge cases: grinding the same pigment twice reveals that premium pigments were reground for finer dispersion; selecting gum arabic with vermilion surfaces a historical note that medieval painters avoided that combination because the binder could not suspend the dense sulfide; selecting lead white for a flesh tone surfaces a warning about ceruse poisoning documented in 17th-century court records. Persist the current canvas as base64 plus pigment and binder metadata in localStorage so a visitor can return to their work; a 'burn parchment' reset button fades the canvas back to blank papyrus with a smoldering edge animation. Responsive layout stacks the grinding station above the canvas on mobile with touch-friendly bowls at least 56px wide, and all tooltips meet 4.5:1 contrast against the warm parchment background. Replay button re-plays the full grinding animation for the currently selected pigment, and a populated export button downloads a PNG of the finished painting plus a JSON sidecar with the exact pigment list, binder, stroke log, and timestamps so an art historian could reconstruct the session. Visual direction: warm desert palette of ochres and burnt sienna with deep lapis accents, brass-bowl specular highlights from a single warm key light, papyrus fiber texture procedurally drawn from crossing fiber lines, brush strokes that show real pigment grain via a per-pixel noise layer rather than flat color fills, and subtle dust particles drifting across the grinding station on a slow loop. The completed-state 1200x630 card shows a finished papyrus painting of a small landscape — lapis sky, cinnabar sun, ochre ground, malachite foliage — with three brass pigment bowls visible and a grinding pestle resting on the mortar, clearly demonstrating an ancient painting session rather than a generic dashboard.

Siempre lo dije

Yes, exactly, I think that's how they did it in the pyramids, and on the statues, and other precision work 5,000 years ago, a technology that was lost at that time, and which is only now being used again.