TIAHUANACO, SKY GOD, AND RESOLVING THE MYSTERY OF THE NAZCA LINES
ARTICLE 3 OF 4
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By Morten St. George
Erich von Däniken and other propagators of ancient astronauts have provided us with dozens of drawings of aliens from primitive peoples or the ancient world. Some of drawings seem convincing as they resemble Hollywood images of aliens, or perhaps Hollywood derived their images of aliens from these drawings? There are drawings of men with wings and there are drawings of men with fish tails. This leaves us with a quandary on how to distinguish the Tiahuanaco drawings of an ancient astronaut -- sometimes depicted as a bird-man and sometimes as a fish-man -- from the imagined gods, spirits, and monsters of other ancient peoples.
There are two things to look for: i) signs of evolutionary features differing from features found in Earth creatures, and ii) signs of advanced technology. With respect to the first point, we note that the Tiahuanaco alien has a) an aquatic tail that does not resemble the tail of any known fish or animal, b) facial features that are definitely not Earth-like, and c) four-fingers on the forward arm appendages versus the five usually found on the more-highly evolved earthlings. Please see Tiahuanaco and Nazca Lines for these depictions.
On advanced technology, we note that the Tiahuanaco alien has a) an astronaut's helmet that resembles the helmets used by human astronauts (inclusive of wide visor to maximize visibility), b) a water or liquid-filled spacesuit, c) hand-held instruments that expanded and contracted, d) the ability to fly without wings, and e) a front-mounted communications device. Once again, please see the Nazca Lines pages for the respective depictions.
In the 16th century, in the Temple of Cuzco (Cusco), the Spanish conquistadores found a rectangular plaque that was said to be a replica of an ancient Sun Disk (which was round in shape; it seems "round" was sacred in the Andes, perhaps causing the Andean people to shun development of the wheel). The Spanish melted down the plaque for its gold content, but not before the images on the plaque were recorded. There are several things to note about these images:
1) The Incas believed that the aliens traveled past the stars in a round spaceship that became oval-shaped when it approached the speed of light (represented by the zigzag ray).
2) The Incas knew that the dark clouds of deep space contained stars inside them and that the aliens came from one of those stars. (Dark nebulae protect evolving life forms from deadly cosmic-ray bursts that otherwise would periodically wipe out life throughout the galaxy).
3) The Incas knew that the aliens were aquatics (represented by the fish tails and fish-fin arms in this drawing).
4) The Incas believed that there was a parallel universe (represented by the mirror images of nebulae and stars to the right and left of the drawing).
5) The Incas believed that the alien spaceship was capable of orbiting the Earth (spaceship is depicted in three different positions to reflect motion) at the speed of light (represented by the rainbow of seven bands around the Earth) making it capable of traveling through time (represented by "the river of time" crossing the Earth), with half the alien spaceship present in one universe and the other half disappearing into the parallel universe.
The Aymara and Quechua languages of the Andes are unique and notorious for their concept of time. Speakers of those languages tend to think of future events as having occurred in the past and vice versa. It's a strong indication that the Andean people had direct verbal communications with the sky god, who influenced their thinking. The Andean languages reflect the fundamentals of time travel.
6) The Incas knew that there were two major kingdoms of life, the animal kingdom (represented by the puma) and the plant kingdom (represented by the tree). They also knew that water (represented by the pond of water) was the basis of both life forms.
7) The Incas knew that the aliens came here to observe (represented by the seven eyes) the evolutionary process on Earth, across time.
The above drawing replicates a re-creation by anthropologist Fernand Schwarz in Les Traditions de l'Amérique ancienne (Spanish version: El Enigma Precolombino). Schwarz claims to have re-created the Sun Disk plaque from minor reproductions found on Inca relics. Many of these Sun Disk images can also be found in the chronicle of the Inca Juan de Santa Cruz Pachacuti, 1613.
Note that (in the Schwarz reproduction) the Sun is depicted as shining on the Moon, which in turn is reflecting the sunlight back on to the alien spaceship. True, the Incas are imitating the graphics of Western astrology by placing a face on the Sun, but surely they did that only to ensure the survival of these images. Of course, the Incas had no particular liking for astrology. In fact, they never noticed the star constellations of Western civilization and went on to create their own constellations, constellations made up of dark nebulae, undoubtedly influenced by the Sun Disk images.
This is an enlargement of one of the aliens on the Sun Disk. There are lots of drawings of aquatic aliens from Tiahuanaco, but they are not of this type. According to historical and esoteric sources, Cuzco (or whatever was there around the year 600) was one of the (two) places of contact between the sky god and the Andean people. Thus, there are two distinct archaeological trends to consider: the Cuzco region of Peru and the Tiahuanaco empire which included Nazca. Cuzco symbolized the aquatic nature of the sky god with fish fins and the Tiahuanaco artists employed fish-head symbolism.
This sculpture (Tiahuanaco museum in La Paz) reminds us of the Cuzco drawing in the sense of depicting a creature with fish-fin arms. It emphasizes the alien's communications device, which in the sense of direct artistic representation, is the feature most in common between the drawings of the Cuzco and Tiahuanaco civilizations. But, to reiterate, this primitive artistic style bears little resemblance to the refined art of Tiahuanaco during its sky god epoch (the seventh century) nor to Tiahuanaco drawings of any earlier epoch (also primitive but without fish). The armies of Tiahuanaco no doubt found this sculpture on their northern conquests and brought it back to Tiahuanaco. For obvious reasons, a transparent visor cannot be depicted in either engravings or sculptures, but here we may be viewing the only surviving depiction of the ancient astronaut's helmet in three dimensions.
It is virtually certain that the Tiahuanaco armies entered the Cuzco region as evidenced by the above statue and other relics that they brought back to Tiahuanaco. However, there are no indications that Tiahuanaco ever gained possession of the Sun Disk.
Apparently, Hollywood does not like aquatic aliens. They have provided us with almost every type of humanoid and air-breather imaginable, but aquatics? It seems the idea of filling up an astronaut's helmet with water and then attaching a communications device to the exterior (for talking through air) has never occurred to the Hollywood writers. If Hollywood can't imagine aquatic aliens, are we really to believe that the Incas imagined them?
Only a fool would believe that the pre-Columbian cultures were capable of figuring out that the dark nebulae of the Milky Way contained stars within, or that it was possible to orbit the Earth. Serious consideration needs to be given to the alien artifact theory. --Morten St. George
The Andean Sky God: Great Master of Time Travel
In southern Peru, off the shores of Lake Titicaca, one finds the Puerta de Hayu Marca, a doorway to nowhere carved out of a huge rock. Inside the doorway, we see a small circular depression. According the local legends, the Incas placed the Sun Disk inside that circular cavity in order to be carried into another dimension.
The Hayu Marca is also called the Puerta del Amaru Meru. As we shall see, Amaru (or Amaro) was the name of the Andean sky god. Sun Disk drawings, however, are nowhere to be found in the engravings of Tiahuanaco (located on the other side of Lake Titicaca). This leads us to suspect that the doorway was made by the Incas -- who possessed the Sun Disk -- after the fall of the Tiahuanaco Empire. On the other hand, Hayu Marca may have nothing to do with the Sun Disk and be merely a place where the Aymara put sacrifices or offerings to the sky god.
Pedro Sarmiento de Gamboa gives us the following account of the founding of the House of the Sun, presumed home of the Sun Disk:
Y de esta manera Mango Capac y Mama Guaco y Cinchi Roca y Mango Sapaca poblaron aquel sitio dentre los dos rios, y hicieron la Casa del Sol, a que llamaron Indicancha, y todo aquel sitio que esta desde Santo Domingo hasta la junta de los rios dividieron en cuatro vecindades o solares, a que ellos llaman cancha. A la una llamaron Quinti cancha, a la segunda Chumbi cancho, a la tercera Sayri cancha, a la cuarta Yarambuy cancha. Y repartieronlas entre si, y asi poblaron la ciudad, que por el mojon de Ayar Auca se llamo Cuzco.
Gamboa later alludes to the Sun Disk, which was housed in a large room inside the House of the Sun: y deputo en las Casas del Sol una gran sala, adonde las tales tablas, que guarnescidas de oro estaban, estuviesen como nuestras librerias, y constituyo doctores que supiesen entenderlas y declararlas. To deter the censors, Gamboa says "Houses of the Sun" but there was only one House of the Sun. Likewise, "tablets" may need to be reversed: there is probably only one tablet under discussion here, that is, the Sun Disk. Gamboa goes on to insinuate that the Sun Disk was the most carefully guarded secret of the Inca empire and that it was the gateway to time travel: Y no podian entrar, donde estas tablas estaban, sino el inga o los historiadores, sin expresa licencia del inga. Y de esta manera se vino averiguar todo lo de sus pasados.
By theory, the Andean Sun Disk produced visions of future historical events as well as those of the past.