We are always arguing about who is superior amongst the racial groups originating in the area in white. We tend to just lump everything in black in the "other" bin.
But what is the hierarchy amongst the lesser races?
What are the most salient family level similarities and differences between these races?
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Mexico cans Cubans South Americans are at the bottom
Is Antartica so huge continent?
Call me a cuck but I believe that Arabs and Indians have something to contribute. Whatever conflict there may be in our modern discourse, those civilizations have a significant history of statecraft, culture, and thought. They've historically made great progress and developed their own civilizations. That progress may have been disrupted lately (the past several centuries) but the spark is still there.
Basically all high-iq inhabitants. At least 80% of the population consists of graduated scientists
Pretty big, but its much bigger because of map projection.
Pic related is an accurately sized map aka a globe
Some SE Asians I'd put in there, the civilization builders at least. Same for amerindians, Mesoamerica, Andian, and Mississippian and some Amazonia cultures.
I was thinking this too. Pre/nonIslamic subcontinentals and non semitic ME/NA
Anyway maybe something like
Nonwhite Caucasians>SE Asian high cultures>/=Amerindian high cultures>polynesian>amerindian/asian primitives>African high cultures>African primitives>melanesians>abos
Similar idea as you guys
Although I have limited knowledge on some of these regions, my take is:
1: Iranians, caste Hindus
2: Vietnamese, Thai, Christian caucasians,
3: Arabs, Muslim caucasians, Turks
4: The rest of mainland SE Asia and India,
5: Ethiopians, Indonesians, Malaysians
6: Indigenous Americans, Polynesians
7: Sub-Saharan Africans
8: Australian Aboriginals
This map is stupid. Everyone knows that the world is flat
That's not bad, user. Everyone seems to agree that the Aussie Abo's are at the bottom of the barrel with sub saharan Africans not far behind.
Iranians, or Persians, along with the peoples of SE Asia are badly underrated in terms of their civilisational accomplishments.
Yeah I forgot to separate the sub continentals, modern genetics had literally proven the Aryan invasion
scienceblogs.com
Look up Ancestral South or North Indian. Basically they mixed with native people's more related to Negrito and melanesians. The further south east and lower caste you go, the less Eurasian DNA
Of course a Jew would say that. Flat earth is just disinfo to keep you away from the truth of the hollow earth.
Vietnam had made hundreds of pic related drums when Germanic master race still lived in huts
Abos are not even human wtf are you talking about user
Ive been impressed with some of the bronze sculpture of medieval west africa. Maybe there is some population there of higher competence.
>falling for reverse psychology
Jews know very damn well that if they say one thing on Sup Forums we all think the other.
If you can succesfully mate with them, they are
By the late eighteenth century, many Mughal-trained painters in central and eastern India were looking to the emerging British ruling class for patronage. The products of this new Company School were often albums of flora and fauna and other exotic sights of India, made to be taken back to Britain. Although this tradition reached its climax in the late eighteenth century, it continued well into the nineteenth. Of the varied subjects, bird studies, such as this bold depiction of a sturdy black stork, may be deemed a classic type. Paintings of birds, animals, and flowers had been an important genre in Indian art since the time of the Mughal emperor Jahangir (r. 1605–27), and the continuation of such subjects under British patronage was a natural extension of that established tradition, although the results were often quite different stylistically. In this painting, the stork is standing upright in a receding landscape of considerably reduced scale that contains a meandering river. The dramatic contrast in size between the bird and the vista it dominates gives the composition a distinctively idiosyncratic mood.
The subject of this painting is the mosque and gateway of the Sang-i Dalan palace at Motijhil, outside Murshidabad, built in 1743 by Nawazish Muhammad Khan. The artist was probably Sita Ram, an accomplished Bengali painter. This work comes from an album that had been made for Francis Rawdon (second earl of Moira, later first marquess of Hastings; governor-general of Bengal 1813–23) on a tour of northern India.
Sita Ram's career can be followed only for the brief but intense span of time when he worked for Hastings, from about 1814 to 1823. During that period, he created the ten albums of the 1814–15 journey and at least two more based on tours in 1817 and 1820–21; contributed to albums of natural history drawings; and made other studies that were later placed in scrapbooks.
Like the other works made for Hastings, this painting no doubt captures what the traveling party saw, but it also suffuses both landscape and architecture with a sense of languor, evoking a timeless mood rather than a fleeting moment from a trip. This impression is further emphasized by the artist's decision to depict the Motijhil site from behind, excluding the main palace and emphasizing the state of decay of the remaining buildings.
In 1777, Sir Elijah Impey, chief justice of Bengal between 1774 and 1782, and his wife, Lady Mary, hired local artists to record the specimens of Indian flora and fauna they collected at their estate in Calcutta. Over the next five years, at least 326 paintings of plants, animals, and birds were made for the Impeys. On most of these works, the name of one of three artists—Bhawani Das, Shaykh Zayn al-Din, or Ram Das—appears along with the Hindi name of the animal and the phrase, in English, "In the collection of Lady Impey at Calcutta." Although this painting bears no such inscription, it is closely related to another painting of a bat by Bhawani Das, and it has always been associated with Impey patronage. One can imagine Bhawani Das and the anonymous artist of this painting working side by side, observing the animals, but whereas Bhawani Das' painting depicts a tawny-colored female bat centered on the page with both wings outstretched, his fellow artist has created an asymmetrical composition in shades of gray and black of an emphatically male bat with one wing dramatically unfurled.
Probably learned by europeans who traded with them. Or it was europeans who made it and traded trinkets for slaves.
The kings of Dahomey sold their war captives into transatlantic slavery;[19] otherwise the captives would have been killed in a ceremony known as the Annual Customs. By about 1750, the King of Dahomey was earning an estimated £250,000 per year by selling Africans to the European slave-traders.[20] Though the leaders of Dahomey appeared initially to resist the slave trade, it flourished in the region of Dahomey for almost three hundred years, beginning in 1472 with a trade agreement with Portuguese merchants, leading to the area's being named "the Slave Coast". Court protocols, which demanded that a portion of war captives from the kingdom's many battles be decapitated, decreased the number of enslaved people exported from the area. The number went from 102,000 people per decade in the 1780s to 24,000 per decade by the 1860s.