After a long debate and many field trips, most experts believe that the origin of colossus culture should be in Polynesia. Polynesia, located in the middle of the Pacific Ocean, is the general name of the islands in the central Pacific Ocean, meaning "multi-island islands". The total population is 654.38+500,000, mostly Polynesians. Most archaeologists and historians believe that Polynesians, an indigenous people who have continued on Easter Island to this day, settled on the island in about 12 century. Why did they create such huge and numerous face statues on the island? Is it only caused by the "ancestor worship" mentality of future generations to commemorate the pioneers? Some psychologists have analyzed that it may be that islanders want to get some sustenance and happiness from this artistic labor in their long-term lonely and boring life. It may also be that they are always depressed and empty, and they have to get involved in a fanatical religious belief by building a giant stone statue to get some relief. It is also possible that in order to form a psychological deterrent to the wild animals on the island or foreign invaders entering the island, the statues were built so huge that they all looked majestic and awesome. Of course, the real motivation of the early residents of Easter Island to build these giant statues is still unknown.
There is not even a tree on this pitifully small volcanic island. It is generally believed that the boulder on the island was placed on a roller and moved to the place where it was placed. This explanation doesn't work here. Moreover, the island can only provide food for 2000 residents at most. It was unthinkable in ancient times to transport food and clothing to masons on the island through maritime trade. Then, who cut the stone from the rock at that time, and who processed the stone and transported it to the present position? How can you move them thousands of meters away without rolling logs? How are stone statues processed, polished and erected? If you rely on less than 2000 people, you can't carve these huge stone statues on hard volcanic rocks with primitive tools, even if you work day and night. So, who did all this work? How did they do it? What tools and methods did the early inhabitants of the island use to move the Stonehenge to its present position? This is still an unsolved mystery.
Along with Stonehenge, there are countless mysteries, such as the riddle of Longongo board.
This is one of the most magical mysteries of Easter Island. It is a kind of "talking wooden door", and the locals call it "Kehao Longongo". The first person to know the value of this kind of wood was the French monk Ellen Arrow. Ellen lived on the island for nearly 1 year, and knew that this piece of wood was the ancient writing of Easter Island.
"Longo Longo" is a dark brown round wooden board, some of which are like wooden paddles, with rows of patterns and text symbols engraved on them. A two-headed man with wings; Biped animal with hooked mouth, big eyes and horns on both sides of its head; Wires, boats, lizards, frogs, fish, turtles and other imaginary and real things. When Erren was alive, almost every family had a collection of such boards. Irene soon contracted tuberculosis and died soon. Shortly after his death, due to religious interference, "Rango Rango" was burned and almost disappeared. Because of the war and other reasons, no one on the island understands this writing symbol.
However, people of insight believe that the symbol of "Longongo Longo" is the key to solve the mystery of ancient civilization on Easter Island. 100 for more than a year, many scholars in the world have devoted their lives to deciphering it, but no one can decipher it.
The Bishop of Taidi, Mr. Sasaki, attached great importance to "Longo Longo", believing that it was the first written relic seen in the Pacific islands, and its symbol was similar to that of ancient Egypt. In terms of essential materials, it originated in Asia Minor Peninsula. From the writing point of view, it belongs to the left-to-right rotating writing system of the Andes in South America.
Czech ethnographer and word connoisseur Lu Wu Ke found that primitive Hindi was similar to the design symbol of "Longongongo". Hungarian linguist Hao Weixian made an analysis and comparison, and made a report that shocked the scientific community at the French Academy of Sciences. According to the report, the 175 of these two characters is exactly the same. The Easter Island script existed in the middle of19th century, while the Indian Valley script was mature as early as 2500 BC, separated by more than 4000 years. But it seems that this coincidence is not accidental.
Austrian archaeologist Gary Deng confirmed that the ancient characters of Easter Island are quite similar to the ancient hieroglyphics of China. In 195 1, he made another amazing remark: the images of birds on Sumatran decorations are very similar to those on "Longgorongo".
French professor Mitro did a lot of archaeological work on Easter Island in 1930s. He insisted that "Longongo" was closely related to the Indians and Guna people in Panama. Scholars in different countries have different views.
Later, a young man named Miantoro came to Taidi Island from Easter Island, claiming to be able to read mysterious wooden characters. Then he was called into the palace by Archbishop Sasayama to read 15 days. The Bishop took notes in Latin and wrote a note.
1954, an ethnographer named Badeli found an old oil-stained exercise book in the archives of Roman monks' groups, namely "Notes of Bishop Sasan". Two years later, badri declared in an international book of benevolence and righteousness that he had deciphered the written symbol of "Longongo". The article describes South Taiping Island as a stage for ethnic wars and religious killing ceremonies.
However, when the University of Hamburg published Badeli's long works, people found that Babbitt's interpretation of the character "Longo Longo" was just a copy of Miantoro's dictation.
19 15 British lady caitlin led the archaeological team to the island. I heard that an old man on the island knew "Longongongo" and she went to visit at once. The old man's name is Tomini Ka, and he is seriously ill and dying. He can not only read the board, but also write a page for the lady. These symbols are exactly the same as those on the blackboard. But the old man refused to say what it meant until he died.
1956, Norwegian and American delegations headed by Toure Helda came to Easter Island and found that a man named Esjiban had a book with all the characters and symbols of Easter Island written by his grandfather, with Latin annotations. But Esjiban wouldn't let Toure read it carefully. Later, this book was never seen again.
Forty years after Tomini's death, Chilean scholar Hoch Siliva saw a dictionary of Longongongo handed down by the old man at the home of his child, Pietro Parr. Hoch got permission to take photos of the speech, but then the film and the speech disappeared somehow.
Strangely, Caitlin only had time to publish her diary, and then she died suddenly. The materials under investigation are missing if they are not published. It is purely accidental that only one page of handwritten symbols can be circulated today. But what Tomini Ka wrote before his death is still a mystery.
Heroa, a Polynesian scholar, put forward a view that symbols on wooden boards are not words. /kloc-At an ethnographic conference held in London in the 20th century, Thomas Geks solemnly declared that the symbol "Longo Longo" is not a word, but a special stamp printed on textiles.
130 years have passed, and there are explorations, discoveries, hopes, disappointments and feelings, but the wood engraved with patterns and symbols such as fish, stars, birds and turtles has always remained silent. At present, there are only more than 20 boards in the world. They are kept in museums in London, Berlin, Vienna, Washington, Lu Lu badminton, San Diego and Petersburg.
1996 The Museum of Anthropology and Ethnography in Petersburg, Russia, published a blue book with only 200 copies printed. The author is Irina Fedorova, Ph.D. in history. This booklet is the result of the author's painstaking research for more than 30 years. Finally solved the mystery of "talking wood" on Easter Island.
Irina fell in love with the word "Longongo" in the 1940s. After studying the history, customs, lifestyle and other Polynesian languages of Easter Island and the whole Pacific Ocean for more than 30 years, she finally came to the conclusion that the symbol "Longo Longo" is actually a glyph painting.
Irina won by intuition and reasoning. She first figured out what this symbol drew, then thought deeply, figured out its meaning, and then looked for the right words. Her formula is: intuition+Polynesian knowledge+finding synonyms and synonyms. Finally, put the results on another board to test.
The results were exactly the same, so she compiled a dictionary. With a dictionary, she can read any piece of wood. In fact, she has read more than 20 existing wooden symbols of Easter Island. Although the source has not been found, Rangongo is no secret. Irina, one of the two wooden boards in the collection of Petersburg Museum, translated: "Take the sweet potato, take the sweet potato, take the sweet potato, the leader of the sugar cane, cut it off from the leader of the sweet potato, and take the red sweet potato slices away ..."