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"King Tut of Northern Arizona" - The Magician
Ridge Ruin was excavated by John McGregor for the Museum of Northern Arizona as a Works Progress Administration project in 1939. A report was published in 1943.
McGregor wrote, "During the excavation of the Ridge Ruin, a small masonry house of Pueblo III age, located about 20 miles east of Flagstaff, Arizona, a most remarkable and unusual burial was found. The burial offerings, accompanying the remains of a man, numbered over 600 articles, many of which were of such fine workmanship and unique execution that it is our belief that this is the richest burial ever reported in the Southwest. While the beauty of some of the objects suffered from their long inhumation, enough of their original character has been retained so that reconstruction reveals how really remarkable the whole collection was. For such a multitude of beautiful objects to be buried with a southwestern Indian is most extraordinary in itself, and makes us wonder where they came from and why they were buried in this way."
Photos above are from his report and show the actual excavation as well as a reconstruction of the man's face, made by Virgil Hubert, based upon the skull anatomy and artifacts buried with "him."
This is a rendering made by an artist using two of the actual artifacts from the grave for reference. This depicts, what is assumed to be, the original colors of the mosaic stones and decorative paint on these cylinders (bracelets).
Conditions at the grave site today.
Mr. Thomas and the "Magician"
If you spend time with archaeologists in the Southwest or read many books you will eventually learn of the magician's burial and subsequent research. The find is a treasure of antiquity. Thomas visited the grave site as soon as he was able to get a guide that would show him the way.
About that same time Thomas was engaged in an interpretive oil painting depicting the pueblo Wupatki as it appeared about 1000 years ago, based upon research with local archaeologists and anthropologists.
Here is a photo of that painting, emphasizing the fact that imported Macaws are found in sacred burials at Wupatki. Two of these Central American birds were also sharing space with the magician in his grave. Each carefully wrapped for burial.
A reproduction of this painting is on display in the Wupatki National Monument's Vistor Center.
Thomas tells a very personal and subjective story about this painting. During the experience of doing this painting he reports "seeing" and "feeling" a Native American turquoise bracelet on his right wrist, without explanation. He was so intrigued by this "appearance" that he painted it into the oil painting. You'll see it in the close up above. No one has ever questioned it, accepting it as part of the artifacts and accouterments of the scene. The painting was finished without further incident and life went on.
A few years later Thomas was presented with a copy of the original McGregor report by a stranger and it led to interesting reading and a "goosebump" discovery.
Within this report is a schematic drawing showing where all of the artifacts in the grave were located. On the right wrist of the skeleton was a turquoise bracelet. Its description is a perfect match to what Thomas experienced. Coincidence?
There remains no explanation, but it instilled a higher curiosity about this man and his buried treasure. Thomas spent more time in the vicinity of Ridge Ruin recording over a hundred new ruin sites and artifacts, including sea shells from Mexico at one pithouse site. Further, he discovered many rock art sites.
This large glyph may in fact represent the magician himself. It shows an anthro figure with a line emanating from his right hand forming a square spiral that continues around him three times.
This spectacular six legged animal (?) is artistically pecked on a nearby basalt stone outcrop. Notice the three footprints.
Another example of several petroglyphs in the vicinity.
One day the lighting was just right to record this nearby ancient ball court.
This mystery in the life of the "intuitive hiker" remains unsolved.
"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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