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Chariots of the GODs?
After over thirty years of spending time with archaeologists, professional and amateur, Thomas observes that there is one subject that remans a silent preoccupation amongst nearly everyone in this field. It is the unsolved mystery of the persistent ancient cultural "connections" with the sky in oral tradition and in visual markings. This inquiry runs the gamut from astronomical solstice markers, apparently for marking the seasons, to thousands of archaic references to extraterrestrial visitations. The latter is spoken about softly in public by small groups of individuals, yet ignored like a great taboo in the formal gatherings or around professionals. Certainly never seriously considered in professional literature.
Anecdote One: Here is an online UFO Report at a local Sinagua Ruin where the famous "magician man's" burial was uncovered. Was he a "visitor?"
Occurred 6/25/98 10:23 PM
Reported: 6/26/1998 08:21
Posted: 3/21/2003
Location: Flagstaff, AZ
Shape: Sphere
Duration: 2 min, NE of Winona, Arizona 3 miles, at an archaeological site called Ridge Ruin. Spheres, glowing red to yellow settle down, move above site, combine and head NE toward Hopi mesas. Patterns left in volcanic sand, geometric.(Like crop circles?) Seen by USFS archaeologists, Coconino National Forest. Observed by USFS Coconino National Forest archaeologists.
Cited:
http://www.nuforc.org/webreports/004/S04125.html
www.swanet.org/2008_pecos_conference/.../1943_McGregor.pdf
www.public.asu.edu/~ohara/2008SAA.pdf
Anecdote Two: In Chariots of the Gods, von Daniken collected and documented evidence, by his definition, from around the world that supports his idea that the bulk of human achievement across the millennia can be attributed to the influence of alien civilizations. This idea seems appealing to some and threatening to many other's belief systems simultaneously, causing controversy. In this little essay herein, we'll visit some typical anecdotal "evidence" and situations that invite this phenomenon.
Anecdote Three: Bible: Genesis 6:1-4
And it came to pass, when men began to multiply on the face of the earth, and daughters were born unto them,
That the sons of God saw the daughters of men that they were fair; and they took them wives of all which they chose.
And the LORD said, My spirit shall not always strive with man, for that he also is flesh: yet his days shall be an hundred and twenty years.
There were giants in the earth in those days; and also after that, when the sons of God came in unto the daughters of men, and they bare children to them, the same became mighty men which were of old, men of renown.
Anecdote Four: Hollywood: Fire in the sky movie, based on actual events:
From the book, Fire in the Sky
Wednesday, November 5, 1975. Seven men working in the Apache-Sitgreaves National Forest, working on the Turkey Springs tree-thinning contract, west of Heber, Arizona, had one of the most documented UFO encounters and abductions ever recorded.
http://www.travis-walton.com/ordinary.html
This recent event occurred in the heart of evidence of ancient civilization, replete with outstanding and even "supernatural" rock art records.
Anecdote Five: Not far from this UFO site, prehistoric petroglyphs that can be interpreted to coincide with this hypothesis, even to the degree that they are near this contemporary extraterrestrial report. Consider, if an indigenous man 1000 years ago had this same experience in conjunction with his cultural belief system what kind of story would he report? What kind of rock art would he create?
These limestone caves are located in proximity of the UFO incident. They contain pecked images that can be interpreted to fit this belief system.
Of particular note, this very unusual panel of petroglyphs faces the sky. Straight up. You can not see it standing in front of it. Thomas visited this cave in 1990 and discovered the secret by following an intuitive hunch.
Nearly everyone that sees this photo identifies the large figure as an "alien" or "moon man." It is patiently defined making us believe that the "inhuman" features are deliberate. Apparently a different author added the "starburst" below the figure later. Also, why four toes on the feet? Then we observe that the female figure to the left is human, with female hair whorls and each small finger is delineated. The female labia is drawn and another "starchild" glyph below her. Is this all just in the eyes of the beholder?
Adding to the expectations of seeing what we want to believe is this pecked star map, drawn on the cave wall close to the major panel above. It all seems to be about the night sky, since it is drawn to be viewed from the sky.
Nearby in the same cave other authors record their own versions of the "star" experience. This panel also faces straight up to the sky.
Anecdote Six: And this brings us to the stories our current Hopi friends tell with references to star people, flying shields and the tradition that says that the original "kachinas" walked with them, taught them many things and impregnated several maidens creating "star children."
In his book Mexico Mystique, Frank Waters, an expert on the Hopis, writes:
"On Second Mesa near Mishongnovi an ancient petroglyph depicts a dome-shaped object resting on an arrow which represent travel through space, and the head of a Hopi maiden who represents pristine purity. As the Hopis believe that other planets are inhabited, this petroglyph represents a paatuwvota or a 'flying shield' similar to a 'flying saucer' that came here in the Beginning. So now at the End the sacred ones will arrive from another planet, said to be Venus, by flying saucers. Many Hopi traditionalists recently have reported seeing flying saucers, all piloted by beings they call kachinas."
From another author, "It is known that the spirits walked with the people long ago. When the natives ignored them, the spirits were insulted, and so became invisible to the people. Customs hold that the kachina's spirits trained people how to live there daily lives. The Hopi state that at one time in the past, the kachina deities visited the mesas in person, but that they now do so in the form of masked dancers. The hopi do indeed believe that in the past, the deities literally walked amongst them, but that today, their presence resides in those selected to wear a mask; it is the mask that transforms the hopi individual into a “possessed” entity. Details of the paintings on Awatovi murals, an ancestral Hopi site, show costumed and masked figures as separated elements or interacting in scenes. But the role and iconography of the dolls does strongly echo certain Aztec deities such as Tlaloc, the god of rain, and Quetzalcoatl, the feathered serpent, who was also the bringer of rain and corn. Seeing the kachina are specifically linked with the rain… Though all deities are equal, some are more popular than others, the most famous for outside is Kokopelli, a fertility deity, usually depicted as a humpbacked flute player (often with a huge phallus and feathers or antenna-like protrusions on his head). Like most fertility deities, Kokopelli presides over both childbirth and agriculture, but he is also a trickster god and represents the spirit of music."
Perhaps parallel to this line of ancient-patronage-thinking is the other mystery of the unexplained existence of sexually explicit rock art panels. We have heard professional archaeologists refer to these as "pornoglyphs," a title we felt uneasy with. Here are two:
In our culture we assume that the intention of this is to titilate, but what if this is just a record of their recognition of the source of the "seed" of their additional DNA? Adjacent abstract glyphs indicate it is sacred.
Empirical evidence is lacking. For science as well.
I've gathered several anecdotal reports together for this essay. I present nothing here as fact, just as examples of how mind-sets determine what we see. Remember, these are all questions, not announcements.
Jon Vroom, webmaster
"Because we have separated humanity from nature, subject from object, values from analysis, knowledge from myth, and universities from the universe, it is enormously difficult for anyone but a poet or a mystic to understand what is going on in the holistic and mythopoetic thought of Ice Age humanity. The very language we use to discuss the past speaks of tools, hunters, and men, when every statue and painting we discover cries out to us that this Ice Age humanity was a culture of art, the love of animals, and women." The Time Falling Bodies Take to Light: Mythology, Sexuality and the Origins of Culture, by William Irwin Thompson
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