Aug 28, 2015
“A 2001 Update”

Prof. Manu Ampim

The “Vanishing Evidence” series is a general summary of years of detailed observation and research. The full documentation supporting the conclusions expressed in this series of articles, including dozens of photographs, will be published in my forthcoming book, Modern Fraud: The Forged Ancient Egyptian Statues of Ra-Hotep and Nofret. I make no attempt here to “prove” such a complicated case as forgeries and the deliberate destruction of African artifacts in just a few short articles. Rather, this series is simply a preliminary report on my findings, which will be given extensive treatment in my book Modern Fraud. - MA


I originally wrote "The Vanishing Evidence of Classical African Civilizations" series in The Gaither Reporter in 1995-1996. The 3-part series documents the unintentional human-aided deterioration, as well as the deliberate and massive alteration, mutilation, and destruction of ancient Egyptian artifacts. The series covers three broad categories of this vanishing evidence: the Temple Evidence (part I), the Tomb Evidence (part II), and the Museum Evidence (part III). Before writing the series, I had meticulously studied artifacts and images at temples, tombs, pyramids, museums, and ancient residential sites throughout Egypt and Nubia (1990, 1994-1995). I also carefully examined ancient Egyptian and Nubian artifacts at nearly all of the major museums, institutes, and libraries in eleven European countries (1989-1990), and in dozens of cities throughout the U.S. and Canada (1991-1992). Overall, I painstakingly studied well over a million images and artifacts before writing the “The Vanishing Evidence” series.

My initial goal was simply to follow the path of research outlined by the eminent scholar, Dr. Chancellor Williams in The Destruction of Black Civilization (1974), and conduct primary research on ancient Black civilizations. As Williams pointed out, the accurate knowledge of African science, social organization, and advanced spiritual systems can only be known from an unbiased first-hand study of the history and artifacts. Though I began my extensive multi-country research tour with a mission of documenting the specific details of the advanced African civilizations of ancient Egypt and Nubia, a quite different and unexpected theme emerged in every region that I studied. I was struck by the specific patterns of deliberate alterations and defacement of the artifacts. These patterns became clear after I had visited the initial group of European museums. What I noticed most was that these acts were more than simply knocking off the noses of statues, they involve a much broader assault on ancient Black images.

The pair statue from the Tomb of Ikhetneb has lost most of its original paint on the faces and upper body of the two images, while much of the original paint on the legs and feet still survive. It seems evident that the darker paint has been deliberately erased on the face and upper body, thus giving the images the illusion of a white-skin appearance.

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Aug 28, 2015
Part I: The Temple Evidence


I reported in the March 1995 issue of the The Gaither Reporter that on my previous primary research trip to Egypt and Nubia in November/December 1994 I found a significant increase in the activity of various Euro-American and Egyptian government “conservation” teams. I further noted that there is a direct relationship between these “conservation” teams and the accelerated defacement and destruction of many ancient Egyptian images and inscriptions, particularly on the temple walls. I also indicated in my article that while several of the greatest Pharaonic (ancient Egyptian) monuments are in a state of rapid decay, there is a steady flow of Africentric “study tours” which are visiting these monuments, while doing nothing to either document the remaining but rapidly disappearing images and artifacts, or to help save these great African monuments for future generations.

After my 1994 trip to Egypt/Nubia, I recognized that due to the incredible rate of decay and destruction there is little time to document the surviving evidence of classical African civilizations on the monuments of this region. Thus, I recently completed my third season of field research to this area to photograph and video the evidence that is virtually disappearing from temple walls every day. In fact, there has been a threat to the survival of the Pharaonic monuments since the middle of the 19th century when these half-buried structures were removed from the sand by European adventurers. When these structures were uncovered, they were destabilized upon being exposed to the natural elements (sun, wind, and rain), and to looters who swiftly dismantled the temple structures for profit schemes and to use the stones as building material.

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Aug 28, 2015
Part II: The Tomb Evidence

In August/September 1995, I undertook my 3rd season of field research in Egypt and Nubia. I conducted primary (first-hand) research at 15 sites in 1994 and 27 sites in 1995. As I indicated in part I of this series, my work of documenting modern forgeries and studying ancient African social organization and spiritual culture was superseded by the overwhelming problem of the rapid decay and deliberate destruction of many temple and tomb carvings.

The vanishing evidence of classical African civilizations is more apparent from the temple evidence than from the tombs because the temple “conservation” work is obvious from the scaffolding, which is visible from different locations within a temple. Not only does the scaffolding draw attention but the workmen’s equipment and the broken up pieces of temple wall surface lying on the ground are also easily noticed. Whereas, when a tomb is under “conservation,” the structure is usually closed to the public until the repair work and secret behind-the-scene alterations are complete.

The altering of Black (African) facial features and the lightening of the skin colors of painted reliefs inside the tombs are central aspects of the conspiracy to destroy the memory of classical African civilizations. The two main conspirator groups carrying out these acts are European and American research teams, and local government workers. Throughout Egypt and Nubia, the tomb images have suffered different levels of decay and destruction. In places such as Giza the tombs are closed as there is little left to see; in Tell Amarna the tomb carvings are in an advanced state of decay; in El Kab and Aswan many of the images have been systematically defaced; and in Beni Hassan only 4 of the 39 tombs are open because the rest are badly damaged. The only major location which has escaped serious tomb damage is Sakkara, but this may not remain true in the future because the conspirators’ work is not complete, until they have destroyed or defaced all the evidence of classical African civilizations.

Modern conspirators have thoroughly erased the facial characteristics of these Black images.

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Aug 28, 2015
Part III: The Museum Evidence

In parts I and II of The Vanishing Evidence series, I examined the progressive decay and deliberate acts of destruction to temple and tomb carvings. An additional aspect of this problem is the systematic altering of images in museums throughout Egypt and the Western World. The vast majority of statues, paintings, and relief images have been subtlety, and in many cases drastically, altered by conspirators to give them a non-African appearance. The changing of the racial identity of the vast majority of the ancient Egyptian images in museums is a major international issue which has been unaddressed. Through my primary research at nearly all of the major museums throughout Europe, America, Canada, and Egypt, I have been able to observe that there is an effective and systematic effort to destroy or eliminate the statues and paintings, which demonstrate that the founders and builders of ancient Egypt were Black people.


Museum artifacts are often manipulated and altered by a number of groups having access to these materials before they are viewed by the public. The broad group of conspirators involved with this cunning behind-the-scenes work includes: archeologists, Egyptologists, and government workers, who dig up, record, and decide the fate of the artifacts; restoration and conservation workers, who restore and piece the broken artifacts back together; and museum workers and officials who are the last group to handle the artifacts before they go on public display. The archaeologists/excavators and Egyptologists who dig up the artifacts have exclusive access to them until they are transported and turned over to a museum or other institution.

Officials of an Italian museum decided to give Thutmosis III a new nose in a crude and outrageous attempt to change his racial appearance.

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Aug 28, 2015
5 Ancient African Empires Besides Egypt That Europeans and Arabs Tried to Claim as Their Own

The Kingdom of Great Zimbabwe (1220–1450)
The civilization of Great Zimbabwe was one of the most significant civilizations during the medieval period. Great Zimbabwe is extraordinary because of the magnificent scale of its structures. Its most striking edifice, referred to as the Great Enclosure, has walls as high as 36 feet extending approximately 820 feet, making it the largest ancient structure south of the Sahara Desert.

In the 1800s, European explorers, imperialists and colonizers were stunned by Great Zimbabwe’s grandeur and cunning workmanship, so they attributed the architecture to Portuguese travelers, Arabs, Chinese, Persians, or even biblical characters, such as King Solomon and the Queen of Sheba.

According to the Metropolitan Museum of Art, archaeological investigations conducted during the first decades of the 20th century have dismissed those attributions and confirmed both the antiquity of the site and its African origins. It was built by the ancestors of the indigenous Shona people in the 11th century, long before the first Europeans ever set foot in Zimbabwe.
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